https://historysoa.com/files/original/5/532/1913-10-01-The-Author-24-1.pdf 60f86912ca91b99663461ab736bc6a2a PDF Text Text �������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author Subject The topic of the resource <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1913-10-01 Volume 24 Issue 1 Pages Page range in volume 1–32 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19131001 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che HMutbor. (The Organ of the Incorporated Society of Authers. Monthly.) FOUNDED BY SIR WALTER BESANT. Vou. XXIV.—No. 1. OcToBER 1, 1913. [PRIcE SIXPENCE. TELEPHONE NUMBER: 374 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. —_____+——__—___ NOTICES. —_—-—+— 7 the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The ‘Author are cases that have come before the- notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 1, Cen- tral Buildings, Tothill Street, Westminster, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from Vou, XXIV. the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. On and after June 13 Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respecting advertisements after that date should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. —______——__—___ THE SOCIETY’S FUNDS. — ++ ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other 79  2 matter closely connected with the work of the Society. oe ‘ (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. ee THE PENSION FUND. oo ‘N January, the secretary of the Society laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4% Extension Shares, 1914, £10 fully paid. The number of shares pur- chased at the eurrent price was twenty-five and the amount invested £296 1s. 1ld. The trustees are also purchasing three more Central Argentine Railway New Shares at par, on which as holders of the Ordinary Stock they have an option. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule ;— Nominal Value. 8 Deca L0ans 2.5.2.2... 665. 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ........ 291 19 11 London and North-Western 3% Debenture Stock .........<.; 250 0 0 Egyptian Government Irrigation Trust 4% Certifieates ........ 200 0 0 ‘Cape of Good Hope 34% Inscribed UOC os oc eee 200 0 0 Glasgow and South-Western Rail- way 4% Preference Stock 228 0 0 New Zealand 34% Stock ....... 247 9 6 Irish Land 22% Guaranteed Stock 258 0 0 Corporation of London 24% stock, 1927-57 ............. 438 2 4 Jamaica 34% Stock, 1919—49 .. 18218 6 Mauritius 4% 1987 Stock ....... 120 12 1 Dominion of Canada, C.P.R. 34% Land Grant Stock, 1988 ...... 198 3 8 Antofagasta and Bolivian Railway 5% Preferred Stock .......... 237 0 0 Central Argentine Railway Or- . dinaty St0ck = ......-.e:c001. Be OG THE AUTHOR. Nominal Value. 2 28 $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ........... 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares .........:; 250 0 0 55 Buenos Ayres Great Southern Railway 4°% Extension Shares, 1914 (fully paid) ..........-. 550 0 0 8 Central Argentine Railway £10 Preference Shares, New Issue.. 80 0 6 Total PENSION FUND. ee Tue list printed below includes all fresh dona- tions and subscriptions (t.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from January 3, 1913. It does not include either donations given prior to January, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1913, - #8 Jan. 8, Toynbee, William (in addi- tion to his present sub- scription). . . ~ O16 0 Jan. 9, Gibson, Frank . 0 6 8 Jan. 29, Blaikley, Miss E. L. Oo Ss 6 Jan. 31, Annesley, Miss Maude 010 6 Feb. 6, Rothenstein, Albert . 0 7 & Feb. 10, Bradshaw, Percy V. 010 6 April 8, Caulfield-Stoker, T. . 0 5 0 June 12, Wimperis, Arthur . fg June 16, Ballantyne, J.W. . » 0.5 0 June 16, Thorold, Rupert 1 @ 0 Donations. 1913. : Jan. 1, Risque, W. H. ‘ . 910 8 Jan. 1, Rankin, Mrs. F. M. . . @ 6 06 Jan. 2, Short, Miss L. M. 05 0 Jan, 2, Mackenzie, Miss J. 0 5 0 Jan. 2, Webling, Miss Peggy . O15 0 Jan. 8, Harris, Mrs. E. H. . 0 5 0 Jan. 3, Church, Sir Arthur, K.C.V.O., ete. ~ Fo 2 © Jan. 4, Douglas, James A. . - 8 8 0 Jan. 4, Grant, Lady Sybil . ~* 2.2 8 Jan. 6, Haultain, Arnold é ~ ok 21 6 Jan. 6, Beveridge, Mrs. : <0 8 6  Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan, Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Mar. 7, Keating, Lloyd ; Mar. 7, Tharp, Robert C. Mar. 10, Hall, H. Fielding Mar. 18, Moffatt, Miss Beatrice Mar. 14, Bennett, Arnold 6, Clark, The Rev. Henry 6, Ralli, C. Scaramanija . 6, Lathbury, Miss Eva . 6, Pryce, Richard 7, Gibson, Miss L. S. 10, K. : : 10, Ford, Miss May 12, Greenstreet, W. J. . 14, Anon : : 15, Maude, Aylmer 16, Price, Miss Eleanor . 17, Blouet, Madame 20,P.H.andM.K. . 22, Smith, Herbert W. . 25, Anon. . . : 27, Vernede, R. E. . 29, Plowman, Miss Mary 81, Jacobs, W. W. 1, Davy, Mrs. E. M. 8, Abraham, J. J. 4, Gibbs, F. L. A. 4, Buckrose, J. E. ‘ 4, Balme, Mrs. Nettleton 6, Machen, Arthur 6, Romane-James, Mrs. 6, Weston, Miss Lydia . 14, Maunsell, A. E. Lloyd 14, O'Higgins, H. J... 15, Stephens, Dr. Ricardo 15, Jones, Miss E. H. 17, Whibley, Charles 22, Probert, W. S. 24, S. F. G. ; 27, XX. Pen Club Mar. 17, Michell, The Right Hon. Sir Lewis, K.C.V.O. Mar. 17, Travers®Miss Rosalind Mar. 26, Anon. . . . April 2, Daniel, E. H. . April 2, Hain, H. M. April 7, Taylor, Miss Susette M. April 7, Harding, Newman . April 9, Strachey, Miss Amabel April 10, Aspinall, Algernon . April 15, Craig, Gordon June 12, Peel, Mrs. 29, Todd, Miss Margaret, M.D. 6, Coleridge, The Hon. Gilbert 14, Saies, Mrs. F. H. (in addi- tion to her subscription) Phe Hev. «3: THE. AUTHOR. . waoroo Ormmoooooo CORRE OF OH ONHFOCOCOCOBRHOHFOGCOCOCOROWO SOmocoooourore n _ _ ht OO HK OH OR ONE NEF OOREKF OF GUM OUR aw Oo: _ i bt fen _ BOF CUNO O, OS Ore or Or Com Om Oa O OH Ore SSSCSTSTOSOHMASOARSCSOHASOAASCSOSCSOSOCOCOCOSCOSCOOCOe SOS ACAaARSS QOooscoescoaoceceo oooce oo = June 13, Barlow, Miss Hilairé : June 13, Kynnersley, E. M. Sneyd. July 5, Williams, Robert : July 11, Broadbent, D. R. . July 22, Cameron, Mrs. Charlotte . Hae ooctk _~ bet eet Ot Oe escooo™ Oi COMMITTEE NOTES. —+-——+-—_ HE last meeting of the Committee of Management before the vacation was held on Monday, July 7, at 1, Central Buildings, Tothill Street, S.W. Following the reading of the minutes, the committee proceeded with the elections. Eigh- teen members were elected, bringing the total for the year up to 207. The committee received, with regret, three resignations. The solicitors then reported the cases to the committee. In regard to two cases tried during the month of June, they reported that in the case of Corelli and Gray, the defendants had appealed, and in the case of Pett Ridge and The English Illustrated, that the defendants had gone into liquidation. Two claims, one against a publisher, and the other for infringe- ment of performing rights, they stated had been satisfactorily settled, the amount of the debt and costs being paid in both cases. They then gave a detailed report concerning the investigation of accounts on behalf. of one of the members, which had become rather a complicated matter, owing to the business of the defendants lying to a great extent in Germany. They hoped to carry the case through without any serious expense to the Society. There were three cases of infringe- ment of copyright. In two of these, which referred to dramatic rights, the amount to be paid had been settled, and the payment by the defendants was to be made by instalments. In the other case, an infringement of literary copyright, the solicitors stated they were awaiting a report from an expert reader, which report had to be carefully considered before any action could be taken. The com- mittee authorised the expenditure of £5 on this report. The solicitors then reported on three small County Court cases that were being carried through. The secretary then drew the committee’s attention to some serious questions which had arisen between authors and agents. It was decided that the secretary should draft an  4 article to appear in T'he Author, setting out in full the facts of the case, which article should be considered at the October meeting. : The secretary reported two cases In which, during the month, he had obtained the chair- man’s leave to act. In the first, the chairman had sanctioned an application for an injunction (if necessary) for a copyright infringement. The secretary was glad to report that the infringement had been acknowledged, and that the matter would be settled without legal action. The second case arose owing to non- delivery of accounts by an American publisher. The committee confirmed the chairman’s decision to place the matter in the hands of the Society’s American lawyers. Another case, relating to copyright infringement in the United States, was laid before the committee, and they agreed that action should be taken if necessary. In a case of arbitration between author and publisher, which had been referred to the Committee of Management, the com- mittee nominated an arbitrator to act in the matter. The question of Canadian copyright was then raised on one or two important points con- nected with colonial copyright which had come before the Society. The secretary was in- structed to communicate with the Board of Trade on the matter, and to report to the next meeting. Owing to the resignation of the present lawyers of the Society in the United States, the secretary submitted the names of others, who were elected subject to a satisfactory report being received. A vacancy on the committee having occurred owing to the regretted illness of Mr. J. W. Comyns Carr, Mr. Charles Garvice was nomi- nated to fill the vacancy, subject to his willing- ness to serve, The secretary then made a full statement concerning the office management and expenses, and was instructed by the com- mittee thereon. The committee’s attention was drawn by the secretary to Mr. H. G. Wells’ lette#in The Author on the subject of model agreements. He was instructed to draft a model form of royalty agreement during the vacation. This form was to be laid before the committee in October. A legal question was next placed before the committee arising out of the mechanical reproduction clauses of the new Copyright Act. After hearing the report of the solicitors, the committee decided that no action could be taken. The committee delegated its powers, t cat ovh a vol ¥¥Ir THE AUTHOR. during the vacation, to the Chairman, to act in case of emergency, and finally passed votes of thanks to Mr. Alfred Sutro for a donation of £5, and to Miss Jeanette Marks, for a dona- tion of $5 to the Society’s Capital Fund. Dramatic SuB-COMMITTEE., Tue Dramatic Sub-Committee held its July meeting on Friday, July 11, at the offices of the Society, 1, Central Buildings, Tothill Street, Westminster. After the reading of the minutes, the seere- tary reported that he had forwarded to Mr. Vedrenne, secretary to the Society of West End Managers, the Managerial Treaty, setting out the alterations made at the meeting between delegates of that society and delegates of the sub-committee. He read to the sub-committee Mr. Vedrenne’s letter acknowledging receipt of the document, and stating that he would show the agreement to his colleagues. The secretary then reported what had passed at a meeting he had attended of the Dramatic Clubs’ Association as delegate of the Society. He was instructed to write to the secretary and express the hope of the sub-committee, that it would be possible for delegates of the association to attend a meeting of the Dramatic Sub-Committee in the autumn. The question of foreign agents was then discussed, and the Dramatie Sub-Committee, subject to the approval of the Committee of Management, elected Mrs. Pogson, the agent of the Society in Germany. Various cases dealing with dramatists’ matters were brought before the sub-committee. The first case referred to a difficulty which had arisen between members of the Society and their agents. The secretary was instructed to write an article for The Author, setting out the points in dispute, but first to submit the article to the members concerned. In another case the sub-committee regretted they were unable to take any action, and fhe secretary was instructed to advise the member accordingly. The last case was a question of appropriation of title. The Chairman was instructed to write a letter on the subject to the member con- cerned pointing out the serious difficulties, legal and otherwise, that might follow from such appropriation. It was finally decided to adjourn the con- sideration of the ‘‘ Draft Dramatic Agreement for a term of years’? to the autumn meeting.  THE AUTHOR. 5 ComposErs’ SuB-COMMITTEE. Tue Composers’ Sub-Committee met at the offices of the Society, 1, Central Buildings, Tothill Street, Westminster, S.W., on Saturday July 12. Following the reading of the minutes of the previous meeting, the arrangements for the general meeting of composers in the autumn were discussed. It was decided to call the meeting for Saturday, October 11, at 2 o’clock. The terms of the circular were settled, and the names of certain speakers were suggested and approved. The question of the price to be paid by the mechanical instrument trade on records repro- ducing selections from certain works was fully discussed. The secretary read the opinion of the Society’s solicitors, and the sub-committee came to the same conclusion as the Committee of Management, viz., that it would be im- possible to argue that a symphony, concerto, or opera did not form one musical work, although the different movements or parts could be dealt with independently. The secretary was instructed in sending out stamps to act in accordance with this opinion. The question of foreign agents was brought forward, and the secretary was instructed to write again to the French Society, and to obtain further particulars from the German Society. On a further question as to the assignment of mechanical rights, it was decided to refer the matter to the general meeting in October. — Cases. Durinc the vacation the secretary has dealt with forty-four cases. This keeps the monthly number at about the usual average. Seventeen of the claims put in his hands were claims for money. Of these eleven have ter- minated successfully ; the money has been obtained and forwarded to the authors in- volved. Five have been placed in the hands of the Society’s solicitors, and will be dealt with in due course; one it has been impossible to carry further, as the defendant cannot be found, and one has only recently come to the office. The claims for MSS., of which eleven cases have been dealt with, come next in number. Six, that is over half, have been successful ; the editors have returned the MSS. and the MSS. .have been forwarded to the authors. In one case it was impossible to —~Bax, Clifford . ; find the defendant and the matter had to be dropped. One ease is still unsettled, and three cases have only come into the office on the verge of going to press. Of seven cases of accounts four have ter- minated successfully, two have been placed in the hands of the solicitors, and one has only recently come to hand. There have been six disputes on agreements. Four of these have been settled, and the remaining two are in the hands of the solicitors to be dealt with. In two claims for infringement of copyright the damages claimed have been obtained, and the matters have been concluded. There was one case of unauthorised use of an author’s name, but, as the matter lies in the United States, the issues are still pending. The Society has obtained counsel’s opinion on an important dramatic case dealing with cinematograph rights, and the cases the solicitors have had in hand during the vacation will be reported at length in the November issue. But little court work is carried on in the summer either in the high courts or in the county courts. —_+—<—+ —_ Elections. Ball, W. Valentine - ft; Brick Court, Temple, E.C. The Manor House, Broughton-Gif- ford, Wilts. Royal Societies’ Club, London ; and The Cross Roads, Mt. Kisco, New York, U.S.A. 2, Porchester Gar- dens, W. 7, Old Deer Park Gardens, Rich- mond, S.W. 40, Tregunter Road, W. Chagford House, 209, North End Road, West Ken- sington, W. William 62, Station Colchester. Swan Hill Court, Shrewsbury. Matron, Salford Maternity Train- ing School. Davis, Richard Harding Farquharson, R. Ganthony, Richard Ganz, Wilhelm Harvey, Henry Leslie . Harwood, Road, Henry. Humphreys, Rachel. Macdonald, Sarah Miss 6 THE AUTHOR. Makgill, Sir George, Bt. (‘‘ Victor Waite” and ‘“‘ Francis Grant ’’). Maude, Graham K. Yaxley Hall, Suffolk. Eye, 56, Stanwick Man- sions, W. Kensing- ton, W. Forest Hill, West Kirby, Cheshire. “Invergordon,” Warrior Gardens, St. Leonards-on- Menzies, Mrs. M. I. : Moodie, Walter Wolston Sea. Richardson, Leslie . ‘Ker Avelek,’’ Con- carneau, Finis- tere, France. 15, Sloane Gardens, S.W. 57, Gwendwr Road, W. = Kensington, W. Whinyates, Miss Amy . Whitley, William T. ——_———_1+—— > —__——_- BOOKS PUBLISHED BY MEMBERS. — While every effort is made by the compilers to keep this list as accurate and exhaustive as pomille, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. ARCH AXOLOGY. Tue XIrn Dynasty Tremere at Derr EL-BaHart. Part III. By E. Navmie and H. R. Harr. (32nd Memoir of the Egypt Exploration Fund.) 124 x 10. 36 pp. xxxvi. Plates. Kegan Paul. Inscriptions From Swiss Cuaxets. A collection of Inscriptions found outside and inside Swiss Chalets, Storehouses and Sheds. By W. LarprEn. 8} x 5}. 208 pp. Milford. 15s. n. IntustRATIVE Descriptive Account oF THE MUSEUM OF ANDALUSIAN PorreRy AND Lacr. Antique and Modern, with notes on Pre-Roman Seville and Lost City of Tharsis. By B. and M. ELLEN WuisHaw. 8} x 53. 43 pp. Smith, Elder. Is. ART. CHuronoLocicaL List, with Notes oF PAINTINGS AND DRAWINGS FROM DANTE BY DANTE GABRIEL ROSSETTI. By Pacet ToynBer. 12} x 84. Pp. 135—166. Turin Fratelli Bocca. BIOGRAPHY. Tue Lire AND WRITINGS oF Puitip, DUKE oF WHARTON. By Lewis MELVILLE. 8} x 5}. xx. + 336 pp. Lane. 168. n. Tue Lire or Jonn Goopwin. By Henry W. Cuark, D.D. 7} x 43. 68 pp. Congregational Union of England and Wales. 6d. n. IncipENTS IN THE LirE or MADAME BLAVATSKY. piled and edited by A. P. Srynett. The Theosophical Publishing Co. Com- 74 x 5. 256 pp. 2s. 6d. . Lire or Kircnener. By Frepk. Wm. Hacxwoopn. Author of ‘‘ William Hone: His Life and Times,” ete. Anew pocket volume of Collins’ “‘ Wide World” Library. William Collins, Sons, & Co., Ltd. 7d. n. VINCENT DE Pav, PRrest AnD PHILANTHROPIST, 1576— 1660. By E. W.Sanpers. 9 x 54. 419 pp. Heath, Cranton & Ouseley. 16s. n. A Court PaInTER AND His CrrcLe: Francois BoucHER (1703—1770). By Mrs. BEarng. 9 x 53. 388 pp. Fisher Unwin. 15s. n. My Days with THE Farries. By Mrs. Ropotpn STawE LL. 8} x 6. 169 pp. Hodder & Stoughton. 6s. n. BOOKS FOR THE YOUNG. Tue Cracsmen. A Story of Smuggling Days. By Dl _ Cooxr. 84 x 53. 316 pp. Cassell. 8. 6d. Piays CoMPILED By Girt GuipEs. Suitable for Perform- ance by Girl Guides. Edited by Miss A. BapEN PowrELtt. 5} x 4}. 137 pp. Brown. 6d. n. Kine or THE Arr. By Herpert Strange. 272 pp. Jack Harpy. By Herperr Strang. 232 pp. THE Lost Istanp. By Capt. Girson. 288 pp. Lorp or THE SEAs. By Herpert Stranc. 238 pp. (The Boys’ New Sevenpenny Library.) 62 x 44. Frowde & Hodder & Stoughton. 7d. n. each. : LirtLe Wars. A Game for Boys. By H. G. WELLS. 9 x 62. 111 pp. F. Palmer. DIVINITY. Tue FourroLp GosreL. Section 1. Introduction. By Epwix A. Assotr. Cambridge University Press. 2s. 6d. n. 2s. 6d. n. DRAMA. Apvent. A Play in Five Acts. By Aveust StRinDBERG. Translated by CraupE Fretp. 7 x 4}. 110 pp. Holden & Hardingham. ls. n. , Tue Emancipation. A Playin Three Acts. By LEoNaRD Inkster. 7} X 4}. xii. + 95 pp. . Sidgwick & Jack- son. ls. 6d. n. Tue Divine Girt. A Play in Three Acts. By H. A. Jones. 74x 5. 178 pp. Duckworth. 3s. 6d. n. Tur Harpy Kryapom. A Comedy in Three Acts, written in blank verse and prose. By ArruuR MaQvuaRIE. 74 x 54. 150 pp. Bickers. 5s. n. JosEPH AND His BReTHREN. By Lovis N. Parker. 74 x 5. 154 pp. Lane. 2s. 6d. n. Eicut o’CLtock AND OTHER STUDIES. Ervine. 7} X 5. EDUCATIONAL, Tue Tracepy or Epvucation. By E. G. A. Hormzs. 74 x 5. 100 pp. Constable. 2s. 6d. n. By Sr. Joun G. 128 pp. Maunsell. 2s. 6d. n. ENGINEERING. FurTHER PROBLEMS IN THE THEORY AND DESIGN OF Srrucrures. An advanced text-book for the use of Students, Draughtsmen and Engineers engaged in con- structional work. By Ewart §. AnpRrews, Lecturer in Theory and Design of Structures at the Goldsmiths’ College, New Cross. 8} x 54. viii. + 236 pp. Chap- man. 7s. 6d. n. Irniagation Works. By E. 8. Beruasts. M.Inst.C.E. 8% x 54. vii. + 195 pp. Spon. FICTION. Jenny: A Novel. By Roy Horniman. 7} x 5. 335 pp. Hurst & Blackett. 6s. Swrrting Waters. By Max RitrEenBerc. 312 pp. Methuen. 6s. 2 : | % 4 : : 3 a ao 2 |  THE AUTHOR. 7 Tue Hour-Guass Mystery. 320 pp. Ward, Lock. 6s. CLeopaTRA. By H. Riper Hacearp. 259 pp. Havoc. By E. Pumurms Opprennem. 258 pp. 6} x 44. Hodder & Stoughton. 7d. n. each. THE Cockatoo. A Novel of Public School Life. By Max Rirrenserc. 7} 5. 309 pp. Sidgwick & Jack- son. 5s. A Marssar, Haut. By Joun MaAsEriep. 189 pp. Elkin Mathews. 3s. 6d. n. THE Sty or Jasper Stanpisn. By “Rrra.” 318 pp. Long. 7d. n. each. Furze THE Cruret. By JoHN TREVENA. 391 pp. (Popular Edition.) Alston Rivers. THE GARDEN or Mystery. By RicHarp 316 pp. Long. 7d. n. THe Rep Hovsz. By E. Nessir. Methuen. 7d. n. THe Patapry. As beheld by a Woman of Temperament. By H. Annestey Vacuett. 64x 4. 474 pp. Nelson. 1a. 1. A Son of THE Peopite. 340 pp. Tau Tancuep SKEIN. 332 pp. By Baroness Orczy. 7} x 4}. Hodder. Is. n. each. THe Patchwork Papers. By E. Tempte Tuurston. (New and Cheaper Edition.) 7} x 43. 268 pp. Chap- man. 2s. n. By Srroke or Sworp. By A. Batrovr. 319 pp. (Cheap Reprint.) Methuen. 7d. n. A Bep or Roses. By W.L. Grorer. 7 x 43. Palmer. ls. n. THE OLD Man IN THE CorNER. 340 pp. By THE Gops BeLoveD. 310 pp. 7} x 44. By Baronzss Orczy. (Cheap Reprint.) Hodder. 1s. n. FEviciry iy France. 377 pp. Ils. n. THE Wipow’s Neckiacr. By Ernust Davies. 315 pp. Duckworth. 6s. Tue Por or Bast. By BrERNarD Capss. Constable. 6s. Lity Macic. By Mary L. Penperep. Mills & Boon. 6s. Raven, V.C. By Coratre Stanton and Heatu Hosken. 7s x 5. 400 pp. Nash. 6s. THe Vieer or Minan. A Romance of Lombardy. By Margorie BowEn. (Cheap Reprint.) 7k X 5. 348 pp. Alston Rivers. Is. n. PeTer, A Parasitre. By E. Marra ALBANESI. Reprint.) 6} x 4}. 224 pp. 7d.n. Tue Mystery or HetmMstey Grane. By Aice and CraupE Askew. 7} x 5. 254 pp. Pearson. ls. n. Tue CounTrY oF THE BLIND AND OTHER STORIES. By H. G. Wxis. 6} x 4. 574 pp. (Cheap Reprint.) Nelson. 7d. n. THE Woman Tuov Gavest Mz. O'Neill. By Haun Carne. mann. 6s, Evporapo. A Story of the Scarlet Pimpernel. By Baroness Onczy. 73 x 5. 374 pp. Hodder & Stoughton. 6s. Tue Stricrty Trarnep Motuer. By F. F. Monrresor. 73 x 5. 221 pp. Murray. 3s. 6d. Tue CLup oF QuEER TRADES. By G. K. Cuesrrerron. 192 pp. Hodder & Stoughton. Is. n. THE Way oF Ampition. By Ropert Hicuens. 7% x 54. 476 pp. Methuen. 6s. Tue Reminaton Sentence. By W. Pzrr Ruivaz. 7% x 5. 300 pp. Methuen. 6s. Tue Miscuter-Maxrer. By E. Pamurs OppenneErm. 7% x 5. 332 pp. Hodder & Stoughton. 6s. Tue SHapow or Evi. By Cartron Dawe. TE x 5. 312 pp. Werner Laurie. 6s. By Heapon Hm. 7? x 5. 7% x 54. 64 x 4. 74 X 5. ls. n. Marsa. 64 x 4}. 212 pp. 64 x 4. 384 pp. 75 X 43. 320 pp. 7k X 5. 372 pp. (Cheap Being a Story of Mary 73 x 5. 586 pp. Heine- By Constance ExizaBeru Mavp.. THE Grey Countess. By Tuzo Dovanas (Mrs. H. D. Everett). 73 x 5. 311 pp. Cassell. 6s. Tue Netuer Mitztstone. By G. Lrrruestons. 380 pp. Ward, Lock. 6s. Gov’s Pray. By Atice and CLaupEe AsKEw. 31l pp. Fisher Unwin. 6s. A Mrxep Marriace. By Mrs. Frank Penny. 263 pp. (Cheap Reprint.) Methuen. 7d. n. Tue Brass Borrte. By F. Anstey. 256 pp. Reprint.) Hodder & Stoughton. 7d. n. PrerRE AND His Propte. By Smr Gmsert ParKeEr. = pp. (Cheap Reprint.) Hodder & Stoughton. 7d. n. Hypocrites AND SINNERS. By Vioter TWrEbDALe. 63 x 4. 318 pp. (Cheap Reprint.) John Long. 7d. n. A Woman Perrectep. By R. Marsu. 318 pp. 63x 4. (Cheap Reprint.) John Long. 7d. n. THe Fourrow on tHE Hutz. By Ftorence Bore. 83 x 53. 128 pp. (The “Leisure Hour” Library.) OLIVER SaAnpys. Cutcanzn. By 74k x 42. (Cheap Reprint.) John Long. An AvERAGE Man. By R. H. Benson. 380 pp. Hutchinson. 6s. THane BRANDON. By Francis BANCROFT. it xX 43. 326 pp. Hutchinson. 6s. THE SWASHBUCKLER AND OTHER TALES. By Mrs. Baim Reynoups. 8 x 5. 343 pp. Mills & Boon. 6s. Mrs. Murpyy. By Barry Pain. Werner Laurie. Is. n. THe ParaDIsE or Foots. Everett & Co. 6s. THE Man Wuo Par. By Rearyatp C. Borsrer and Mason Ausrey O’Brign, C.I.E. 74 x 43. 332 pp. Alston Rivers. 6s. THortEy Weir. By E. F. Benson. 73 x 5}. 336 pp. Smith, Elder. 6s. BaRBARA OF THE THORN. 314 pp. Chatto & Windus. 6s. Brtow Srams. By Mrs. Atrrep Smewicx. 72 x 6. 304 pp. Methuen. 6s. THE GOVERNOR or Encuanp. By Margorrz Bowen. 72 x 5. 376 pp. Methuen. 6s. Tipe Marks. By MarcarutT WESTRUP. 7% x 5. 380 pp. Methuen. 6s. THe CHars or Harton. A Tale of Frolic, Sport and Mystery at Public School, By Benrypa Biiypers. Edited by Desmonp Coxz. 7} x 43. 159 pp. Chap- man & Hall. 2s. 6d. n. Winns or Gop. By Hammron Drummonp. 321 pp. Stanley Paul. 6s. One WonpeErFuL Nicut. By Lovis Tracy. 74 X 5. 321 pp. Ward, Lock. 6s. THRovcH Wat AND THrovaH Wor. By Err Apz- LAIDE Rowxanps. 74 x 5. 317 pp. Ward, Lock. 6s. Hieas anp Porrer. By Brarp FRANCIS. 74 xX 5. 296 pp. Drane. 3s. 6d. Tse Crry or Brautirut Nonsense. By E. Tempe Tuurston. (New and Cheaper Edition.) 6} x 4}. 360 pp. Chapman & Hall. ls. A Prizstess or Humanity. By Mrs. Stanuey WRENCH. 7% X 43. 319 pp. (Popular Edition.) John Long. ls. n. Links in tue Cuarn. By Heapon Hu. John Long. 7d. n. Tur Ossornes. By E. F. Benson. 6} x 4}. 378 pp. Nelson. 7d, n. ALLAN QuaTEeRMAIN. By H. Riper Haccarp. Hodder & Stoughton. 7d. n. ASERVANT or THE Pustic. By ANTHONY Hops. Hodder & Stoughton. 7d. n. 72 x 5. 7% X 5. 64 x 44. (Cheap 287 pp. 7k xX 43. 74 x 43. 114 pp. By Derrek Vane. 320 pp. 7} x 5. 72 Xx 5. 256 pp. 320 pp. 317 pp. 8 THER AUTHOR. ASENATH OF THE Forp. By “ Riva.” 83 x 53. Stanley Paul. 6d. 196 pp. HISTORY. Sures aND Ways or OTHER Days. By E. KeBLEe CHATTER- TON, 9% xX 7. 308 pp. Sidgwick & Jackson. 16s. n. JorRQUEMADA AND THE SpanisH_ INQuIsiTION. By R. SaBATINI. 9 X 53. 404 pp. Stanley Paul. 16s, n. LITERARY. Tae Story or THE ALPHABET. By E. Ciopp. Revised Edition. 63 x 4}. 234 pp. (Useful Knowledge Series.) Hodder & Stoughton. ls. n. Unxiversity and HisroricaL AppREssEs. By JAMES Bryce. 8 x 54. 433 pp. Macmillan. 8s. 6d. n. MATHEMATICS. PROCEEDINGS OF THE FrerH INTERNATIONAL CONGRESS OF Maruematicrans (Cambridge, August 22, 28, 1912). Edited by E. W. Hopson and A. E. H. Love. Two vols. 104 x 7. 500 x 657 pp. Cambridge University Press. 30s. n. MEDICAL. Tur Huarruy Marrracse. A Medical and Psychological Guide for Wives. By G. T. Wrencu, M.D., B.S. 74 x 5. Tur Nervous AND CHEMICAL ReauLaTions oF Mura- BoLIsM. Lectures by D. Norn Paton, M.D., B.Sc., Professor of Physiology in the University of Glasgow. 9 x 54. 217 pp. Macmillan. 6s. n. NATURAL HISTORY. Tue Birpsor Avstratia. By G.M.Maruews. Vol. III. Part Ill. 144 x 10}. Pp. 205—300. Witherby. NAVAL. Turn Krye’s Sutres. Together with the important His- torical Episodes connected with the successive ships of the same name from remote times, and a list of names and services of some ancient war vessels. By H. 8. Lzoxy. In six volumes. Vol. I. 11} x 8}. 327 pp. H. Muirhead. £3 n. each volume. POETRY. My Lapy’s Boox. By Greratp Goutp, 7} x 5. 54 pp. Sidgwick. 2s. 6d. n. Sart Water Batyaps. By JoHN MasEFIELD. 112 pp. 73 x 5}. Elkin, Matthews. 3s. 6d. n. Rasmie’s Buppre: Porms iN THE SHETLANDIC. By J. J. HAtpaNE Buresss. 74 x 5. 129 pp. Manson. A SELECTION FRoM THE Love PorTry or WILLIAM Burter Years. 8} x 6. 30 pp. The Cuala Press, 2 Dundrum, Co. Dublin. To subscribers, 7s. 6d. Maytime Sones. By ANNIE MATHESON. Max Goschen. 2s. 6d. n. Prers THE Plowman. An English Poem of the Fourteenth Century. Translated into Modern Prose, with an Intro- duction, by Kare M. Warren, Lecturer in English Language and Literature at Westfield College (University of London). Arnold. 2s. 6d. SOCIOLOGY. A PLEA FoR THE YOUNGER GENERATION. Hamirton. 7? X 5. 2s. 6d. n. Woman, Marrtace AND MotHernoop. By ELiIzaBETH 8 x 5h. 67 pp. By Cosmo 63 pp. Chatto & Windus. Stoan CHESSER. 8} x 5}. 287 pp. Cassell. 6s. n. SPORT. Women tn THE Huntina Frevp. By Mrs. Sruart Menzizs. 734 x 5. 269 pp. Vinton. 7s. 6d. n. THEOLOGY. Hymns," Lirantes AND PRAYERS FOR A VILLAGE. By J. Hunrutey Sxrre. 63 x 4}. 85 pp. Mowbray. Tene \ Tur Porr at Home. By Doveras StapEN. 7} X 43. 222 pp. Hurst & Blackett. Is. n. Lessons ror THE CuuRcH’s CHILDREN. Book I. By Tne Rey. J. Hastocn Potter and Tue Rev. A. E. W. Suearp. 74 x 5. 262 pp: Skeffington, 1s. 6d, n. TOPOGRAPHY. Tur New Foresters. By Witttam Carne. 8} x 5}? 248 pp. Nisbet. 5s. n. Quiet Roaps anp Suenpy Vittaces. By ALLen FEa. 9 x 53. 292 pp. Nash. 7s. 6d. n. TRAVEL, A Tourn Touramr. By Raymonp NEEDHAM. Second Edition. 7} x 4}. 300 pp. 5s. n. From a PunsavuB PomrGranate Grove. By C. C. Dyson. 9 x 54. 289pp. Mills& Boon. 10s. 6d. n. Tue LanD oF VEILED WOMEN. Algeria, Tunisia and Morocco. 7k x 5. 288 pp. Cassell. Some Wanderings in By J. Foster Fraser. ls. 6d. n. —_—_—_—_——_+——_+-_—_—_—__ LITERARY, DRAMATIC, AND MUSICAL NOTES. —+— + HE novel-publishing season is now in full swing. Mr. Maurice Hewlett’s ‘“‘Bendish: a Study in Prodigality,” appeared on September 19, through Messrs. Macmillan & Co. Mr. H. G. Wells’s “ The Passionate Friends” was published by the same house. Mr. Hall Caine, with his ‘“‘ Woman Thou Gavest Me” (Heinemann), has had _ the distinction of being the first author this season to come into conflict with the Circulating Libraries’ Association, The matter is referred to in another column. Sir Arthur Conan Doyle’s “‘ The Poison Belt’ is published by Messrs. Hodder & Stoughton. Mr. Robert Hichens’s new novel, ‘‘ The Way of Ambition,” has been published by Messrs. Methuen & Co. The same firm has produced Mr, Arnold Bennett’s “‘ The Regent” (re-introducing the reader to “* The Card ’’); Sir Gilbert Parker’s “The Judgment House”’; Mr. Pett Ridge’s “The Remington Sentence’; Miss Marjorie Bowen’s ‘‘ The Governor of England”; Mrs. Belloc Lowndes’s ‘‘The Lodger’’; Miss Dorothea Conyers’s ‘‘ Sandy Married”; Mr. Putnam Weale’s ‘“‘ Romance of a Few Days ”’ ; and Mrs. A. Sidgwick’s “‘ Below Stairs.” Mr. W. B. Maxwell has brought out “* The Devil’s Garden,” through Messrs. Hutchinson |  HAR ENO SRS THE AUTHOR. 9 & Co. This firm publishes also Mrs. Wilfrid Ward’s ‘ Horace Blake.” From the same publishers come “ The Power Behind,” by Miss M. P. Willcocks; “An Average Man,” by Mr. R. H. Benson; “ Sandy’s Love Affair,” by Mr. S. R. Crockett; and * Thane Brandon,” by Mr. F. Bancroft. Messrs. Chatto & Windus publish ‘“ The Door that has no Key,” by Mr. Cosmo Hamilton; ‘Love in the Hills,” by Mrs. F. E. Penny; ‘ Barbara of the Thorn,” by Miss Netta Syrett ; “‘ Prodigals and Sons,” by Mr. John Ayscough; and “ The Price Paid,” by Miss Effie Adelaide Rowlands. Mrs. Florence L. Barclay’s “The Broken Halo,”” was published by Messrs. G. P. Put- nam’s Sons, on September 16. “Anne of the Marshlands,’’ by the Hon. Mrs. Julian Byng, and “ Daffodil’s Love Affairs,” by Mrs. L. M. Stacpoole Kenny, are published by Messrs. Holden & Hardingham. Major Aubrey O’Brien, C.I.E., and Mr. Reginald Bolster, authors of ‘Cupid and Cartridges,” have collaborated again in a novel entitled “‘ The Man Who Paid” (Messrs. Alston Rivers). Miss Florence Bone’s autumn novels are, “The Valley of Delight,” and “‘ A Burden of Roses.” Her new serial, ‘‘ The Golden String,”’ commences in the October number of The Sunday at Home. Mr. Frankfort Moore has had two novels published since our last issue—‘‘ The Narrow Escape of Lady Hardwell ” (Constable) ; and “The Rescue of Martha ” (Hutchinson). Mrs. L. Allen Harker’s new novel is ‘‘ The Ffolliots of Redmarley.”” Mr. John Murray is the publisher of this, and also of ‘“ The Strictly Trained Mother,” by Miss F. F. Montresor. “ Myles Calthorpe, I.D.B.,” by Mr. F. E. Mills Young, is announced by The Bodley Head as already in its seventh edition. The Baroness Orezy’s “‘ Eldorado,” another story of the Scarlet Pimpernel, is published by Messrs. Hodder & Stoughton. Miss Edith C. Kenyon’s historical tale, “ Christine the Huguenot,” is being published by the Religious Tract Society. The same author’s “Ashes of Honour,” and ‘“ The Mystery of Blackstone Mine,” have been brought out by Messrs. Holden & Hardingham in sixpenny form. Messrs, Greening & Co. have brought out a sixpenny edition of Miss May Wynne’s “ Henry of Navarre,”’ the novel adapted from the play by Mr. William Devereux. “The Old Time before Them,” is Mr. Eden Phillpott’s title for a new collection of West Country stories, which Mr. John Murray publishes. Miss Edith L. Blaikley’s new novel, ‘ Alone in a Crowd,” will appear early this autumn through Messrs. Heath, Cranton & Ouseley, who published the same author’s “ Dorothy Eayle ” last October. Messrs. Stanley Paul & Co. are the pub- lishers of ‘‘ The Watered Garden,” by Mrs. Stepney Rawson; ‘ Winds of God,” by Mr. Hamilton Drummond; ‘ The Eyes of Alicia,”’ by Mr. Charles E. Pearce; ‘‘ Youth will be Served,” by Miss Dolf Wyllarde: “The Cloak of St. Martin,” by Miss Armine Grace (sister of Miss Dolf Wyllarde); ‘The Adventures of Mortimer Dixon,” by Mrs. Alicia Ramsey ; and ‘“‘ The Painted Lady,” by Miss Arabella Kenealy. Miss Constance Serjeant’s ‘‘ Where the Saints are Gone’ has been republished by Mr. W. Nicholson. “The Sentence of the Judge,” by Miss Hilaré Barlow, is published by Messrs. Lyn- wood & Co. E. M. Channon (Mrs, Francis Channon) calls her new novel “Miss King’s Profession.” Messrs. Mills & Boon are the publishers of this, and of Mrs. H. H. Penrose’s ‘t The Brat.” “The Call of the Past,” by Fflorens Roch, is published by Messrs. Sands & Co. “The Pot of Basil,” by Mr. Bernard Capes, is published by Messrs. Constable & Co., as also are “No Place Like Home,” by Mr. John Trevena; and ‘‘ The Judgment of the Sword ” (previously announced as “‘ Retribution *), by Mrs. Maud Diver. Shilling editions of Mr. Clive Holland’s stories, “My Japanese Wife,” ‘‘ The Spell of Isis,” and ‘‘ Marcelle of the Latin Quarter,”’ are issued by Messrs. Lynwood. Mr. Roy Horniman’s “‘ Jenny ”’ is published by Messrs. Hurst & Blackett. Miss Mary B. Sandford’s story for young people, *‘ The Young Gordons in Canada,” was published last month by the Religious Tract Society. Miss Violet A. Simpson’s new novel, ‘‘ Flower of the Golden Heart,” will be published by Messrs. Chapman & Hall this autumn. This story deals with life and manners in London immediately preceding the Great Fire of 1666. We regret an error in the chronicling of Miss Marriott Hodgkins’ tragedy, “ Cyrus,”’ in the July issue of the Books published by Members, which was erroneously described under the title “‘ Cyprus.” Messrs. Macmillan & Co. are about to 10 publish the second of Mr. Douglas Ainslie’s translations of Senatore Benedetto Croce’s system of the Philosophy of the Spirit. This volume will deal with the will in its various manifestations, and notably with its two forms of ethic and economic, showing how the former depends upon and is developed from the latter. The chief title of this work is ‘“‘ Philosophy of the Practical.’’ Mr. Ainslie’s next translation will be that of Croce’s profound and creative critique of Hegel, and will be entitled, ‘‘ What is Living and what is Dead of the Philosophy of Hegel.” The third and last volume of the Crocian system will be the ‘‘ Logic,” to be issued next year. The introduction to the ‘‘ Philosophy of the Practical’ appears in the October number of the North American Review. Mr. Douglas Ainslie’s last volume of poems, ‘“‘ Mirage,” has now been transferred to Messrs. Constable & Co., who have also published his “Moments,” “John of Damascus,” and ‘‘ Song of the Stewarts.” Mr. Havelock Ellis writes the introduction to Miss Ellen Key’s life of Rabel Varnhagen, who has been described as the greatest woman genius that Germany has produced (Putnam, 6s. net). Mr. Lewis Melville’s new biography is ‘“* Philip, Duke of Wharton ”’ (John Lane, 16s.). Messrs. Hutchinson & Co. are on the point of producing Mr. Philip W. Sergeant’s ‘* Mrs. Jordan, Child of Nature,” a new attempt to pierce the mystery surrounding the unfortu- nate actress. There will be twenty-one illustrations. Mrs. Edith Cuthell’s ‘A Vagabond Courtier ’’—a biography in two volumes of the Baron von Polnitz, of whom a rather acid portrait appears in Thackeray’s ‘‘ Virginians ”’ —is announced by Messrs. Stanley Paul & Co. Mr. Yoshio Markino, the Japanese artist, is producing through Messrs. Chatto & Windus ‘““ My Recollections and Reflections,’’ with nine illustrations in colour and several in mono- chrome. Messrs. Chatto & Windus’s autumn cata- logue includes also ‘‘ Browning’s Heroines,” by Miss E. C. Mayne (6s. net); “* Under the Greenwood Tree,” an edition, illustrated by Mr. Keith Henderson, of Mr. Thomas Hardy’s novel (6s. net); and ‘‘ A Plea for the Younger Generation,’’ by Mr. Cosmo Hamilton (2s. 6d. net). f *“ Quiet Roads and Sleepy Villages,’’ pub- lished recently by Eveleigh Nash, is another of Mr. Allan Fea’s touring rambles in search of the picturesque. Like last year’s volume THE AUTHOR. several counties are included in these rambles. Again Barnet is taken as a starting-point, but this time we journey across Herts into Bedfordshire, and thence to south Northants, through Oxfordshire and eastern Gloucester- shire to northern Wilts, and thence by Berks again to the narrow “ waist’ of Oxon. As before, there are several views of old-world villages. Messrs. Chapman & Hall have published a new book by Mr. C. E. Gouldsbury, author of “Life in the Indian Police,” ete.. It is entitled “ Tiger Land: or Reminiscences of Forty Years’ Sport and Adventure in Bengal.” There are twenty-four illustrations, and an introductory chapter deals with big game shooting in India. Mr. Archibald B. Spens and has lately been travelling across India, and writing an account of his trip. This is to be published by Messrs. Stanley Paul & Co., under the title “‘ A Winter in India.” The book contains 100 photographs by the author. A book is to be published this month by Messrs. Stanley Paul & Co., under the title ‘“More about Collecting,” by Sir James Yoxall, M.P., the author of ‘“‘ The A. B. C. about Collecting.”” His new work, which is very thoroughly illustrated, gives many practical hints about books, glass, pictures, porcelain, lace, clocks, and furniture, among other subjects, and is written ‘ for the help of amateurs smitten with the passion for picking up things which are odd, pretty or rare.”’ ‘Ships and Ways of Other Days,” is the name of Mr. E. Keble Chatterton’s new book (Sidgwick, 16s. net). Mr. Wynford Dewhurst has _ written “Wanted: A Ministry of the Fine Arts,” attacking the national attitude toward art (Rees, 1s. net). Miss Jeanette Marks’s “‘ Vacation Camping for Girls” is a practical manual issued by Messrs. Appleton of New York at $1 net. The Rev. F. W. Coulter has republished in pamphlet form his articles on ‘“‘Some Causes of Modern Unbelief,’’ which appeared serially in the Lancaster Guardian. ‘The price of the pamphlet is 1d. Mr. S. M. Franklin and Miss Alice Henry, both Australian members of the Society of Authors, are the joint editors of Life and Labor, which is published in Chicago by the National Women’s Trade Union League of America. Mr. and Mrs. Bernhard Whishaw, authors of ‘** Arabic Spain,” have published through Messrs. Smith, Elder & Co., at the price of Is., an illustrated descriptive account of the  7 THE AUTHOR. 11 Museum of Andalusian Pottery and Lace at Seville. Mr. Francis Gribble’s ‘‘ Romance of the Oxford Colleges,’ with twelve illustrations, is published by Messrs. Mills & Boon, 2s. 6d. net. Mr. George Grossmith’s “‘ Gaiety and George Grossmith: The Random Reflections of an Apostle of Pleasure,’’ will be issued this month by Messrs. Stanley Paul. A new edition has appeared of Mr. J. J. Haldane Burgess’s “‘ Rasmie’s Biiddie,’’ poems in the Shetlandic dialect (T. & J. Manson, Lerwick, 2s. 6d. net). Dr. Elizabeth Sloan Chesser, M.B., has produced a work entitled ‘‘ Woman, Marriage, and Motherhood ’’—dealing with her subject from all points of view, sexual, hygienic, legal, political, social, economic, industrial. The price is 6s. net. “*Goldwin Smith: A Study,” is the name of a biographical sketch of the late Professor by Mr. Arnold Haultain. The publisher will be Mr. T. Werner Laurie. Captain J. Stuart has published, through Messrs. Macmillan, ‘‘ A History of the Zulu . Rebellion, 1906, with maps, and illustrations. The price is 15s. Messrs. J. D. Symon and S. L. Bensusan together are the authors of ‘‘ The Renaissance and its Makers” (T. C. & E. C. Jack, 10s. 6d. net). “Women in the Hunting Field,” by Mrs. Stuart Menzies, is published by Messrs. Vinton & Co. at two prices, 7s. 6d. net, cloth ; and 10s. 6d., leather. The volume of *‘ Reminiscent Gossip of Men and Matters,’’ announced by Messrs. Chapman & Hall, is by Mr. James Baker, who for over forty years has travelled widely, coming in contact with many famous men and women. Mr. E. M. Beardsley is the author of ‘‘ Rome versus Jesus ’’—described as an indictment of the Papacy from a new point of view (Andrew Melrose, 6s. net). _Mr. Wilfrid C. Thorley has just published, through Messrs. Macmillan, an ‘English Reader for Foreign Students.” It is an attempt to give, by means of selections from about fifty of the best writers of the nineteenth century, a microcosm of Anglo-Saxon life and thought during that period. “The Rainbow Book,’ by Mrs. M. H. Spielmann, was issued in a third edition last month. Although published at a cheaper price, this collection of stories for children retains its original format, and has all the illustrations (by Mr. Hugh Thomson, Mr. Arthur Rackham, and others) that distin- guished the first edition, issued in 1909. The plans, new issue forms a companion volume to “ Littledom Castle,’’ of which a third edition appeared last year, when it was placed upon the prize-list of the London County Council. Mrs. Charlotte Cameron, author and traveller, has returned recently from a 26,000-mile trip. Not only has she circumnayigated the entire East and West Coast of #Africa, but traversed that continent as well with the exception of a few hundred miles. The story of her adven- tures in Logoland, Cameroons, Liberia, French Congo, as well as in our own colonies, entitled ““A Woman’s Winter in Africa,” will appear this autumn. Mr. E. A. Reynolds-Ball edits ‘“‘ Bradshaw’s Through Routes to the Chief Cities, Bathing and Health Resorts of the World” (Henry Blacklock & Co., 6s. net). Mr. S. Leonard Bastin has _ published, through Messrs. Cassell, a book upon “‘ Flower- less Plants.” Mr. John Masefield’s new long poem, “‘ The River,”’ will appear in next month’s issue of the English Review. Mr. William Watson’s ‘‘ The Muse in Exile ”’ is issued by Mr. H. Jenkins at 3s. 6d. net. ‘**In Arcady, and Other Poems”’ is the title of a volume by Mr. W. J. Cameron (Erskine Macdonald, 3s. 6d. net). Mr. H. Cooper Pugh calls his volume of verse ““Les Chausans d’un Ingénu” (J. & J. Bennett). In the September number of the West- minster Review appeared a new poem by Mr. Alfred Smythe, ‘Our Royal Betrothal,”’ commemorating the announcement of the marriage of Prince Arthur of Connaught and the Princess Alexandra. Mr. K. C. Spiers has had a book ‘‘ The Soul of a Doll, and Other Poems” published by Messrs. Chapman & Hall, at 2s. 6d. net. :: DrRamMatTIc. On September 1, at the St. James’s Theatre, there were seen for the first time, Mr. Bernard Shaw’s ‘“‘ Androcles andthe Lion,”’ and ‘‘ The Harlequinade,” in which Mr. Dion Clayton Calthrop collaborated with Mr. Granville Barker. On September 2 Mr. Louis Parker’s “‘ Joseph and His Brethren”’ was staged by Sir Herbert Tree at His Majesty’s Theatre. On September 3 ‘‘ Love and Laughter,” a comic opera by Messrs. Frederick Fenn and Arthur Wimperis, with music by Oscar Strauss, began a season at the Lyric Theatre. September 4 was the first night, at the Duk of York’s, of ‘‘ The Will”? and ‘* The Adored One,” both by Mr. J. M. Barrie. 12 THE AUTHOR. At Drury Lane, on September 11, Messrs. Cecil Raleigh and Henry Hamilton produced a new melodrama entitled ‘‘ Sealed Orders.” “The Fugitive,” by Mr. John Galsworthy, made its appearance in the matinee bill at the Court Theatre on September 15, under the management of Messrs. Greig & Rosmer. Mr. Henry Arthur Jones’s new play, “ Mary Goes First,” was put on at the Playhouse on September 18, with Miss Marie Tempest as the heroine. On the evening of September 22 Miss Horniman opened a short season at the Court Theatre with Mr. Stanley Houghton’s “‘ Hindle Wakes.” Mr. Forbes Dawson has been spending a fortnight in New York, in order to arrange for the production of a play there. In the July number of The Author Mrs. Florence Eaton was described as the author of ‘‘ The Triumph.” She should have been called part-author, Mr. William Crossing having collaborated with her in that play. Mrs. Irene Osgood’s drama, ‘“‘ Une Aventure du Capitaine Lebrun,” was published in Paris by the Comedia—the last two pieces in that paper having been by Hauptmann and Balzac respectively. Mr. Anthony P. Wharton’s idyll in three acts, “‘ At the Barn” (produced for the first time at the Prince of Wales’s Theatre on August 11, 1912), has appeared in book form, published by Messrs. Joseph Williams at 2s. 6d. net. Under the title of ‘‘ A Living Theatre,” a 1s. booklet has been published in Florence to set forth Mr. Gordon Craig’s aims as prosecuted at his school and in his journal. M. Lugné-Poe’s Théatre Subventionné de 1CEuvre, Paris, will re-open in November with M. Maurice Bourgeois’s sole authorised French translation of the late J. M. Synge’s “ The Playboy of the Western World.’’ The French title will be ‘“‘ Le Baladin du Monde Occiden- tal.” M. Bourgeois’s ‘‘ John Millington Synge and the Irish Theatre’ is being published immediately by Messrs. Constable & Co. $$$. PARIS NOTES. se ARELY has any woman writer had the world-wide appreciation and success of the late Pierre de Coulevain. The announcement of her death has caused real grief to thousands of her readers in many countries. To those of us who had the great privilege of knowing her intimately, her loss is irreparable. Her five novels were all written after her fiftieth year. Her last one, “Au Coeur de la Vie,” is in its 85th edition in French, “‘ L’le inconnue” in its 1381st edition, and “Sur la Branche,” in its 179th. Translations of her books have been published in Dutch, English, German, Italian, Norwe- gian, Portuguese, Spanish, Swedish and Tchek. One of the finest articles written on Pierre de Coulevain comes to us from Constantinople. ‘All her works,” says the writer of this article, ‘‘ the outcome of individual energy put forth with the sole object of endeavouring to comprehend the true meaning of life, are so many sources of energy for those who consult them attentively... . / According to her, moral strength took higher rank than all the other advantages an individual might have.” Fortunately she had completed her last book, ‘‘ Le Roman merveilleux,” in June. She was at work on another one, for her brain was ever active and the problems of life were of absorbing interest to her. Her whole life had been noble and dignified, and she faced death consciously and unflinchingly. The French literary world has lost another woman writer of great value in Lucie Felix- Faure Goyau, the daughter of the late Presi- dent. Madame Goyau’s books were all on subjects that would appeal to intellectual men and women of any nationality. The writer of them was an extremely cultured woman and a great linguist. In her “ Ames _ paiennes, Ames chrétiennes,”’ she studied the psychology of Christina Rossetti, of Eugénie de Guérin, and of Catherine de Sienne. Her book on the life and works of Cardinal Newman has been very widely read. ‘‘ Les Femmes dans l’GEuvre de Dante,” ‘‘ Méditérranée ”’ and *‘ La Vie et la Mort des Fées ”’ all represent years of patient research, thoughtand work. Besides all this literary activity and her social obliga- tions, Madame Goyau was deeply interested in all social problems. She founded the Children’s League and was on the committee of many philanthropic associations. Her lectures on literary and sociological subjects were always crowded. Fortunately her husband, Georges Goyau, the well-known sociological author, had kindred tastes, so that their home was the rendezvous of the intellectual élite of Paris. Independently of her literary and public work, Madame Goyau will be sincerely regretted, as her charm of manner and her wide sympathies made her a great favourite in Parisian society. 4 + * 1 | |  THE AUTHOR. The Autumn publishing season is now commencing and there seems to be no dearth of books ready for publication. A volume compiled by O. G. de Heidenstam, entitled ** Marie-Antoinette, Fersen et Barnave—Leur Correspondance,”’ will, no doubt, be much read, as there is always some fresh light to be thrown on the great revolutionary period of French history. A book has been written by Daniel Chenneviére on ‘“‘Claude Debussy et son Chuvre.”” The publisher who is bringing this out has given us a volume on Vincent d’Indy and on Paul Dukas. All who have been following the Balkan question closely will, probably, be glad to read a volume just published, entitled “‘ La Conférence de Constantinople et la Question Egyptienne en 1882,” by Sayed Kamel. The theatres are beginning to announce their programmes for the winter. M. Antoine intends putting on some of the French classical plays at the Odéon, with the staging of the epoch to which they belong. At the Athénée ““La Bourgeon’”’ is being given; at the Vaudeville, ‘‘ Le Menuisier ’’ and ‘‘ La Dame du Louvre’; and at the Gymnase, “ La Demoiselle de Magasin.”’ Atys HAuuarp. **Le Roman meryeilleux.” (Calmann-Lévy.) “ Ames paiennes, Ames chrétiennes.” (Perrin.) “ Marie-Antoinette, Fersen et Barnave—Leur Corres- pondance.” (Calmann-Lévy.) * Claude Debussy et son (Euvre.” (Durand.) “Ta Conférence de Constantinople et la Question Egyptienne en 1882.” (Alcan.) — se AUTHORS AND EDITORS. te . the July issue a resolution was published passed at a meeting of the Committee of Management and Editors. This resolution was subscribed to by the editors of ten papers. Since then the Society has issued a circular to those who did not happen to be present when the resolution was passed, and is pleased to state that the following have allowed their names to be added to the list :— Mr. John Stead, of Review of Reviews. Mr. James Parmerlee, of Vanity Fair. Mr. J. E. Harold Terry, of the Onlooker and Throne. Mr. C. R. Simpson, of the Weekly Telegraph, who, however, agrees with the editor of the Quarterly Review (see note to list appended). 13 Mr. St. Loe Strachey, of the Spectator. Mr. J. S. Wood, of the Gentlewoman. The Society has also had answers from the Fortnightly .Review—Mr. Courtney is kind enough to state that he is unable to give his sanction without the approval of the board, and it is hoped that that approval may be obtained—from Mr. E. M. Bunting, of the Contemporary Review, who has been kind enough to write expressing his interest in the action that has been taken, and stating that he will be glad to hear what goes on further, and from Mr. Arthur Hutchinson, editor of the Windsor Magazine. We have pleasure in quoting Mr. Hutchinson’s letter in full, as the Windsor Magazine appears to. be one of the few magazines in England that follows the recognised American custom : Dear Sir,—In repiy to your request that we should add our name to the list which you are preparing for your October number, of those who wish to establish the new rule for the date of payment for articles or illustra- tions, I write to point out that as our custom is to pay on the Saturday of each week for all work accepted or delivered to us, if previously commissioned, within that week, it would be very retrograde on our part to support any rule which establishes so long postponed a date for payment as either of those suggested in your resolution. We cannot help thinking that our method is much fairer to authors and artists than any such postponement, even though the latter may be an improvement on older customs of deferred payment in the ease of offices whose methods you may be considering. Yours truly, ARTHUR HUTCHINSON, Editor, the Windsor Magazine. The editor of Punch is in favour of the more elastic resolution, and in order that this reference may be clear to the readers, we append the original resolution with the signatures as they at present stand and repeat the rest of the article as it appeared in the July issue. Resolution. “The authors and artists whose articles, stories, or drawings may have been accepted, shall be paid for those accepted articles, stories, or drawings, at the next official pay- day after the publication, or within six months from the date of acceptance of such articles, stories, or drawings, whichever is the shorter period.” 14 THE AUTHOR. In favour. J. I. Bailey, The Connoisseur. Vivian Carter, The Bystander. F. Chalmers Dixon, English Review. L. J. Maxse, National Review. *G. W. Prothero, Quarterly Review. Harold Cox, Edinburgh Review. C. E. S. Chambers, Chambers’s Journal. F. H. Fisher, Literary World. Chas. Hyatt-Woolfe, Science Siftings. G. Binney Diblee, The Field ; The Queen. John Stead, Review of Reviews. James Parmerlee, Vanity Fair. J. E. Harold Terry, Onlooker and Throne. *C. R. Simpson, Weekly Telegraph. Mr. St. Loe Strachey, Spectator. J. S. Wood, Gentlewoman. * There was a reservation by the editor of the Quarterly Review that the word “shall” should be altered to “should.” With this reservation the editor of the Weekly Telegraph agrees. The rest of the article is as follows :— “ After this resolution had been put forward, it was proposed—owing to the fact that many editors, while approving the spirit of the resolution, objected to the letter, and that no voice was raised in opposition to the principle of obtaining a more uniform and businesslike practice—to discuss, either by circular or by means of an adjourned meeting later in the year, the following :-— ‘“¢* We consider that it should be under- stood by all authors and artists whose con- tributions have been accepted, that they shall be entitled to make requisition for pay- ment at any period six months after such acceptance, and that such requisition shall not be considered in any way contrary to established precedent.’ “It is hoped by the committee that it will be possible to get a still larger number of editors to consent to this more elastic resolution, which will give great relief to contributors, Many editors are quite willing to pay within a reasonable time if they are asked, but they fail to understand the author’s point of view. It is not so much natural modesty, as a fear— in many cases, we regret to say, well-founded— that any step they may take to disturb the equanimity of the editor will result in their future contributions being set aside. ‘“‘ Another point was put forward, which the committee hope to deal with in the autumn, namely, the possibility of arranging between authors and editors some form of conditional acceptance in those cases where editors feel they could not give an immediate and unconditional decision.” COPYRIGHT AND BANKRUPTCY. —— he of The Author may call to mind the case of Deeping v. Grant Richards#of which a report appeared in our May, 1907, issue. Judgment delivered in that case demon- strated that if an author transferred his copy- right to a publisher subject to the payment of royalty his only remedy if the publisher went bankrupt was for damages for breach of agree- ment against a bankrupt estate. Briefly, it was laid down that in cases of bankruptcy the agreement could be assigned by the trustee in bankruptcy without the assignee being respon- sible to the author for payment of royalties. The result of subsequent cases of a similar character served to confirm the ruling given in Deeping v. Grant Richards. An attempt was made to get this grievance of authors, dramatists and composers removed while the Copyright Act of 1911 was being discussed in Parliament, but the Government, whilst sympathetic, regretted they could not deal with the matter in a Copyright Bill, stating it could only be dealt with as an amendment to the Bankruptcy Laws. Accordingly, for the time the matter was dropped. In the spring of this year, however, the attention of the Society was called by Mr. Mackinder to the fact that Amending Bills dealing with bankruptcy were before Parlia- ment, and he suggested that they afforded the Society an opportunity of attaining a removal of the peculiar hardships inflicted upon authors, dramatists and composers by the Warwick Deeping decisions. Mr. Mackinder called upon the secretary and had a long conversation with him, with the result that, with the sanction of the chairman, counsel was instructed to draft certain clauses designed to protect authors not only from the results of the judgments referred to above, but also from the losses arising out of the bankruptcy of magazines and other periodical publications. Mr. Mackinder very kindly undertook to take charge of these clauses on behalf of the Society and to use every effort to get them accepted by the Government. As it was found impossible to get the clauses affecting contributions to magazines accepted, these clauses had, perforce, to be dropped. The committee, however, are pleased to report that the clause relating to the transfer of copyright under royalty agreements was accepted by the Government and that the Bills which have now become law each contain this - Sfb Peeprns v. Mora (Be Trnotee )  THE AUTHOR. clause. Inthe English amendment of the bankruptcy law it runs as follows :— “Where the property of a bankrupt comprises the copyright in any work or any interest in such copyright, and he is liable to pay to the author of the work royalties or a share of the profits in respect thereof, the trustee in bankruptcy shall not be entitled to sell, or authorise the sale of, any copies of the work, or to perform or authorise the performance of the work, except on the terms of pay- ing to the author such sums by way of royalty or share of the profits as would have been payable by the bankrupt, nor shall he, without the consent of the author or of the court, be entitled to assign the right or transfer the interest or to grant any interest in the right by licence except upon terms which will secure to the author pay- ments by way of royalty or share of profits at a rate not less than that which the bankrupt was liable to pay.” It appears with a slight modification in the amendment of the bankruptcy law for Scotland, but the effect is the same in both cases. The Society must thank Mr. Mackinder most heartily for drawing the attention of the Com- mittee of Management to the point, and for the energy and care with which he piloted the clauses through to a triumphant success. The issues are perhaps of more importance to composers than to authors or dramatists. Nowadays authors very seldom assign their copyright. They have been taught by the work of the Society through the past twenty- five years ; but composers still suffer severely, and there are but few who do not recklessly assign their copyright. This is no doubt partly due to the composers’ ignorance and partly to the yoke that music publishers have for many years past thrown on their shoulders. It is the duty of composers to move shoulder to shoulder with a view to overcoming the difficulties that surround them and prevent them from getting a fair return for their life’s work. In the meantime all members of the Society must join in thanking Mr. Mackinder for the work he has done on their behalf. —_—_———__+—>—_+____—_- STOCK COMPANY RIGHTS. HE attention of the Dramatic Sub-Com- mittee has been called to the value of the stock rights in the United States. Mr. Walter C. Jordan, the agent of the Society in New York, was the first to impress upon the members the importance of retaining their rights, and he has reiterated his warning at every opportunity. Every member who has dramatic rights of value in the U.S.A. should take special note, because there are companies existing ready to purchase stock rights, and the author in his ignorance may be willing to sell for a lump sum 15 —a sum which may appear to him to be large— rights which, if retained, might through the years bring him many times the amount. It would appear that managers in the U.S. try very hard to get control of stock rights in the original contract. This they do by obtaining the sole right of performance which the author often conveys in ignorance of the existence of stock rights ; but, even if he knows, the manager puts forward the argument— sometimes with success—that he contributes towards the establishing of the play and creating a demand for. it by stock companies. It is, therefore, advisable either that the author should withhold all rights whatever to lease out his plays for stock company purposes, and should grant to the producing manager only the right to produce and perform the piece under his own management (not including any right to the producing manager to lease out the play at any time for stock company purposes) : or should he think the manager’s argument, set out above, of any value, should stipulate in the original contract that after the producing manager has produced and performed the piece under his own management for not less than 100 performances, that for a specified period the manager shall be entitled to receive a fixed share of the net royalties earned by the play being leased out—by the author—for stock purposes, but that the play shall be handled for stock purposes by the author himself, or by his authorised agent without the intervention of the manager. The author had better place his work for all stock purposes in the hands of an agent exclusively, who should be thoroughly reliable, and the agent should proceed to lease out the play for stock companies for the best royalty terms obtainable, according to the size of the cities, the season of the year, the size of the theatre, and the prices charged at the theatre. What can be obtained for stock engage- ments must vary under these different circum- stances. It is most important also that while the author employs an agent, that agent should have exclusive power to act. This not only stimulates the agent but prevents two agents crossing one another in the same market, prejudicing the author’s position, and perhaps losing the contract. It will be seen, therefore, how important it is that the agent should be thoroughly reliable and trustworthy; that he should have no interest as principal in other joint stock rights, that he should be agent pure and simple, honest and above all with a full knowledge of his work 16 Over and over again in these columns the position of agents has been referred to. In many cases it is safest for the author to do his own work, backed with the advice and help of the Society, but in the placing of stock rights in the U.S.A. an agent is no doubt essential. There is one other important point that it is necessary to put before authors. It has already been mentioned that the managers in the U.S.A. make every effort to obtain the stock rights from the author in the original contract. If the author parts with these through ignorance or for any other reason, he should not be paid the same fees on the per- formances as he is paid in the ordinary contract. There are two reasons why he should not be paid in this manner. To begin with, if, as an -author, he is in a position to claim a high percentage, then his stock rights are con- siderably prejudiced, because the American manager won’t let out to stock companies unless he can make something himself by the trans- action. Therefore, if he is paying to the author a very high percentage, he would have to ask the stock companies a percentage so high that they would not be able to pay it—therefore the author would lose the chance of gaining a large sum which he might otherwise obtain. If, however, the manager is paying the author a small percentage, then it is essential also that a different system should obtain for the stock rights, and it is important that the author should receive a certain fixed share of not less than half of the royalties accruing from the use of his play in stock. The following example will suffice to show the reason of this :— When a producing manager has established a certain play by producing it for a certain number of weeks, and has the authority to sub-lease the play subject only to the author’s percentage, if that percentage is small then the manager frequently not only gets double the amount from the stock company, but also exacts from the manager a minimum guarantee. The matter works out as follows: The pro- ducing manager controlling a certain play leases to a stock company the play for one week for royalty terms of 10 per cent. of the gross receipts, with a minimum guarantee to be paid by the stock company to the producing manager of $500. If, then, the producing manager is paying the author only 5 per cent. on the first $3,000 gross receipts,, and the stock company plays the said play for one week to gross receipts of $2,500 (which would be very fairly good business to the average stock com- pany) the producing manager would only have to pay the author $125, and he would retain THE AUTHOR. for himself the balance of $375 as his share from the said engagement. But if the author’s agreement was that he should receive at least half of all the royalties accruing from stock company engagements, the author would get just double the amount out of the week’s stock engagement. Very successful plays often com- mand weekly guarantees of more than $500 a week, and the less successful plays which lease to the smaller stock companies command minimum weekly guarantees of from $200 to $400. It is clear, therefore, that in the majority of cases the author’s best interest lies firstly in holding the entire stock company rights himself, and secondly, if he is foolish enough to transferthem to a producing manager, that he shall receive a certain percentage of the total amount received, rather than accept his ordinary percentage royalties on the gross receipts on the stock company engagement, as on the gross receipts of other engage- ments. The advantage is two-fold, first, that in most cases the author would get more, and secondly, that it gives the producing manager a freer hand with which to contract. We are indebted for the substance of this article to the information forwarded to the Society by Mr. Walter C. Jordan, the Society’s agent in America, —_+——o —_____ WHAT IS A VALUABLE RIGHT OR INTEREST ? Crauz v. SHEARD. N this case an important question arose as to whether a right or interest in a musical composition was ‘valuable and sub- sisting ’’ at a certain date, when the Order in Council relating to Austria-Hungary came into operation. The plaintiffs, a firm of music publishers in Vienna, sued the defendants, an old-established firm of music publishers in London, for damages for infringement of the copyright in “ Die Fledermaus”? waltz by Johann Strauss, the Austrian composer. The waltz, which was written in 1874, was first published in Austria, and the plaintiffs became the owners of the copyright. No steps were taken to secure copyright in the United Kingdom, and in 1877 . the defendants published the waltz in London ; but after a year or two, the sales diminished, and there was little or no demand for the work, although the defendants kept a small number of copies in stock.  THE AUTHOR. 17 In 1893 a copyright treaty was concluded between Great Britain and Austria-Hungary, and under the Order in Council, which came into operation on May 11, 1894, the plaintiffs became entitled to the copyright in the waltz in the United Kingdom. But owing to a proviso in the Order in Council, the plaintiffs’ copyright was subject to any right or interest of the defendants, which was “‘ valuable and subsisting ” in May, 1894. In 1912, when “ The Nightbirds ” was pro- duced at the Lyric Theatre, the waltz was introduced into the piece, and there was a new demand for the music. The defendants accordingly republished the waltz, and it was contended on their behalf, that they were entitled to do so, because they had originally produced it in the United Kingdom, and had a right or interest which was valuable and subsisting in May, 1894, and were therefore protected by the proviso in the Order in Council. On the other hand, it was urged that in May, 1894, the sale of the waltz by the defendants was practically dead, and that the defendants’ right or interest in the work had no market value, and could not be described as “‘ valuable.” Mr. Justice Scrutton held that although the defendants had a right or interest in the waltz which was “‘ subsisting ”’ in May, 1894, it could not be regarded as “ valuable,’ because it would not have been marketable at that time. The music had become saleable again in England owing to the production of ‘“ The Nightbirds’’ in 1912, but the defendants could not have obtained a price for their right or interest in the work in May, 1894. On these grounds, his Lordship granted an injunction, and gave judgment for the plain- tiffs for £5 damages and costs. Haroutp Harpy. a “A. M. BURGHES.” a N The Author for December, 1912, we reported the result of the prosecution, undertaken by the Society, of C. M. Burghes, who carried on business ‘under the style of “ A. M. Burghes ”’ as a literary agent at 34, Paternoster Row, E.C. C. M. Burghes was convicted by the jury of obtaining money by false pretences, but, for some reason which we did not appreciate, the judge only bound him over to come up for sentence when called upon. The result has been unfortunate. <, M. Burghes continued to carry on business at the same address, and, probably in ignorance of what had happened, various authors entrusted him with MSS. and, we believe, paid him fees. In a number of cases the Society were successful, through their solicitors, in getting back the MSS., although in no case was a MS. delivered up until proceedings had been taken. Now, however, things have taken a fresh turn. An author (not a member of the Society) not only sent Burghes certain MSS., but paid him sums amounting to £70—as to £50 for payment over to a publisher in fulfilment of an arrangement Burghes stated he had made, and as to the remainder for fees. Hearing nothing further he became alarmed, and inquiry then revealed the fact that C. M. Burghes was not to be found at his place of business and that his address was unknown. He had not paid over the £50 to the publisher nor, in fact, had he ever made any arrange- ment with the publisher under which £50 or any other sum was payable. The copy letter- book found at the offices showed no business letters since June, and Burghes had not for a considerable time come to the office at all, though he had sent a messenger for letters, and had thus, it would seem, obtained possession of the cheques for £70 which the author had sent to him. Comment is needless. The money has gone, and not even the MSS. in this case can be found. The landlords have dis- trained for their rent and sold the contents of the office. The Society’s solicitors, being aware of the position, arranged with the landlords for any MSS. in the safe and elsewhere to be kept back when the premises were emptied, and at present a considerable number are lying there. They cannot, of course, be kept indefinitely, and if any members of the Society have left MSS. with Burghes they should give particulars to the secretary without loss of time, so that inquiry may be made for them. We cannot but think that if the judge had given effect to the verdict of the jury at the trial last year by passing a sentence of imprisonment the sub- sequent losses would have been avoided. SCALE FOR ADVERTISEMENTS, [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.) Frout Page aes ide = . «24 0 0 Other Pages ae as agi eae see axe sie Half of a Page ... aay ie wes ie ais wie ee Quarter of a Page : ow. 016 Eighth of a Page ie ce 0 70 perinuch 0 6 O Single Column “Advertisements Reduction of 20 per cent. made for a Series of Siz and of 25 per cent, for Twelve Insertions. 0 0 1 15 6 All letters respecting Advertisements ,should be addressed to Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C. 18 THE AUTHOR. HOW TO USE THE SOCIETY. Ase L, VERY member has a right toask for and to receive EK advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel's opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination. 4. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them, (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. This The 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9, The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. ope WARNINGS TO THE PRODUCERS OF BOOKS. —+—< + ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. Selling it Outright. This is sometimes satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continenta) rights. (5.) Not to give up serial or translation rights, (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor |! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe Author. IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld, (3.) Always avoid a transfer of copyright. — es WARNINGS TO DRAMATIC AUTHORS. a ee EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- vetent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :-— : (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters inte such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name-on the play-bills. : : 4  THE AUTHOR. (b.) Sale of performing right or of a licence te perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent, An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. («.) Sale of performing right or of a licence to perform on the basis of royalties (7.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play s highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. ———__+—<>_—_____ REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. + ere typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for _at the price of 22. 6d. per act. 19 DRAMATIC AUTHORS AND AGENTS. ee oe ee RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, de equally well or better for himself, The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ——_—__—_+— 0 WARNINGS TO MUSICAL COMPOSERS. ees ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. ee STAMPING MUSIC. ee The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, ——$$§$§_— —e_____ THE READING BRANCH. —1—~o—+ — EMBERS will greatly assist the Society in this M branch of its work by jnforming young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, —————_ «> ¢ REMITTANCES. oo The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only, 20 THE AUTHOR. COLLECTION BUREAU. — a f | \HE Society undertakes to collect accounts and money due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works an! amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument vecords. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the of! ce, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission, For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Amsterdam ‘ ; . A. REYDING. New York : ‘* WALTER C. JORDAN. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. GENERAL NOTES. — to Liprary CENSORSHIP. WE have pleasure in publishing herewith a letter addressed by the chairman of the Com- mittee of Management to the editor. The contents of the letter set out the reason for its publication. The members of the Society are entitled to know the action that is being taken by the Committee of Management. The chairman, in consequence, has put forward this statement for the perusal of all members. Why the committee have not thought fit to write to the papers and join in the public controversy is here fully explained. To the Editor, “‘ The Author.” Dear Sitr,—As I understand that various letters have been received by the secretary of the Society with regard to the attitude of the ‘Committee of Management on the question of library censorship, I think it well, as chairman -of the Society, to give the members the follow- ing information :— The library censorship, as at present con- ‘ducted, has on several occasions in past years been very seriously considered, not only by the Committee of Management of the Society, but also by sub-committees especially ap- pointed for that purpose. The Committee of Management feel that it is not a question of this book or that book, written by this author or that author, but that the question involved is an important question of principle which stands above all books and all authors. The reason why the Committee of Manage- ment have not on this or on former occasions written letters to the papers, is because they appreciate that, in a matter of this kind, letters to the papers are of little permanent value, though such letters may draw attention to some particular book and regain for it a cir- culation to which it was no doubt entitled, but which it had lost by the action of the libraries. The practical issue is the only issue with which the Committee of the Society intend to deal. In every case in time past they have asked the authors concerned to make any proposals or suggestions that might seem good to them, and such proposals as have been made have received consideration. In the same way at the present time any proposals put forward by the authors concerned, or any suggestions made by any member with a view to bringing about a practical issue, will be most carefully and gratefully considered. I understand from the secretary that he suggests that there shall be a small permanent council of authors, publishers, librarians and booksellers, which should sit once or twice a year to consider any important questions which may arise in this connection. If the Committee of Management could organise such a council, the question of library censor- ship would no doubt then be adequately dealt with, and it is possible that the combination of the four bodies referred to might find a solution which would be satisfactory to all parties. Because the Committee have not entered the arena of newspaper discussion, it does not mean that they have not the whole matter very much at heart. Yours, etc. (Signed) HeEskeTH Pricnarp, Chairman of the Committee of Management. AUTHORS AND EDITORS. In the article under the same title, printed in this month’s issue, in the last paragraph but one, it is pointed out that many authors have a fear (in many cases well founded) that if they make a demand for money, their future con- tributions to a paper may be set aside. This remark was made apropos of contributions j ; i i ‘ i j ; 4 i i  a ro LESSEE ES. THE AUTHOR. 21 which have been accepted and not published. The ordinary editor and the ordinary author would hardly think that the same fear would be justified in the case of a MS. which had actually been published, but in support of the contention the following example is quoted : A member of the Society sent some verses to a paper called The Literary Monthly. The poem was accepted, and printed in the July issue of that paper. During the month the author wrote to inquire the terms on which contributors were paid, and the editor replied stating that all contributions were paid for in the month in which they appeared. As the author did not receive the amount in accord- ance with this statement, a letter was written to the editor, drawing attention to the fact that payment had not been made, and saying a remittance would be esteemed a favour. To this no reply was received, and ultimately the author wrote pressing for payment, and that unless a cheque was received within seven days, the matter would have to go into the hands of the Society of Authors. In answer to that letter the contributor obtained a reply, dated September 1—that is a month after the time when the editor said he would pay for contri- butions—which ran as follows :— “The editor encloses cheque for , for poem published in July issue. No further contributions will be received from Hes The fair deduction to make from this letter is that because the author refused to wait longer than the time mentioned by the editor himself for the payment of contributions, and because, in consequence, the author threatened to put the matter into the hands of the Society, the editor refused to take any further contri- butions. It is quite clear that the refusal did not arise from the fact that the author’s work was not sufficiently good, otherwise the first poem would not have been printed, It would be interesting to know whether the editor has got any other explanation that he would like to put forward. INTERNATIONAL CONGRESS OF PUBLISHERS. AN interesting paper was read by Mr. William Heinemann before the International Congress, of Publishers at Budapest. It dealt with the danger to the maintenance of the published price of books arising out of excessive discounts to the retail trade which were frequently offered by certain publishers as an inducement to the bookseller to stock their publications to the exclusion of the works of their competitors. The matter, as Mr. Heinemann stated, concerns authors equally with publishers, for it is clear that, in the end, if the retailer is given an excessive discount, the royalties paid to the author will be reduced in proportion. Obviously, if one publishing house yields to the pressure of the bookseller, others will, in sheer self-defence, be bound to follow, with the inevitable result that the author will lose what the bookseller gains. The only possible action is for the Publishers’ Association to bind themselves to take joint action on the lines taken by the United States publishers. What sometimes happens when the publisher goes to the bookseller is best told in Mr. Heinemann’s own words :— ** Who of us has not been told that Mr. X. gives better terms than we do, and that unless equal terms are conceded the bookseller in question must give preference to Mr. X.’s books ?. Who of us has never yielded to such pressure ? Who of us has never found such a statement inaccurate? And who of us, having yielded to untruthful representation, has not afterwards heard the same argument used against the very rival who was described as so much more liberal than ourselves ? Such demands may go on ad infinitum: demands which seem to me, even if they are honestly made, contemptuous towards ourselves and our goods.” Reverting, however, to the position of the author in this matter, we should like to drawt he attention of authors to the prac- tice of one of the publishing houses and to its form of contract. This house provides in its contract with the author for the pay- ment of a certain royalty on the published price. So far, so good. But in a subsequent clause it also provides for the payment of a reduced percentage on those sales at less than half the published price, and a still further reduced percentage on sales at a quarter of the published price. Moreover, the percentage is paid, not on the published price, but on the nett returns. As we have shown in a previous issue of The Author, it often happens that it pays the publisher better to give a large dis- count to the bookseller, paying less to the author, than to keep the price to the book- seller up to the normal standard, paying the author the agreed royalty on the published price. Here there is a conerete case demonstrating that the special terms allowed to booksellers result in very material loss to the author. Even if an increased sale results, the author gains nothing under these conditions by the increase. And, as we have already stated, we 22 do not think, in the last resort, authors gene- rally would gain by these improved terms to the retailers. While it is improbable that their royalties would be reduced in_ the manner favoured by the publisher referred to, it is certain that their royalties would tend to be reduced on the published price, and the whole book trade would be upset and finally ruined. We notice that at the same Congress a reference was made to the question of copy- right and cinematographs, and that pub- lishers were advised to provide for cinemato- graph rights in their agreements with authors ; further, that an association of authors and publishers should be founded to protect these rights from infringement. In the absence of more definite information on this matter we defer detailed criticism of the proposal till a later issue. We would, however, counsel all authors to keep very close control of the cinematograph rights of their stories, as these rights are likely soon to become valuable, and there is no more reason why they should be given to the publisher than that the dramatic rights should be given to him. The publisher’s work should begin and end with the publication of the author’s MS. in book form. THE NEW POET LAUREATE. -\INCE the last issue of The Author appeared the much-discussed vacancy in the office of Poet Laureate has been filled up. The appointment of Dr. Robert Bridges took the general public by surprise. His name had, indeed, been mentioned in the literary press as that of a possible candidate, and the July number of the Quarterly Review contained a warm recommendation of his claims, from the pen of Mr. John Bailey. But to the man-in-the-street he was unknown, and probably the ordinary comment on his appointment was, “I’ve never read a line of him!” Now publicity has been given to the facts that Dr. Bridges is sixty-nine years old, was educated at Eton and Corpus College, Oxford, has been a practising physician and has produced a body of poetry which includes plays and masques, metrical experi- ments, lyrics, and even a few hymns, which appear in the “ English Hymnal.” If, however, the man-in-the-street has only just been helped to the discovery of Dr. Bridges, THE AUTHOR. among his fellow-poets he has long been honoured. He may certainly be called “a poet’s poet.” It is remarkable that the contributors to the volume entitled “‘ Georgian Poetry, 1911—12,” unanimously inscribed it with the name of Robert Bridges. Mr. Asquith’s selection of a Laureate, there- fore, may certainly claim the approval of an influential band of artists ; for the ‘* Georgian poets’ included more than one who was looked on as a possible Laureate himself, and not one who had not done something worthy of note. Before the appointment there was an agita- tion, on the part of a few revolutionary folk, that the Poet Laureateship should be abolished as obsolete and meaningless. In resisting this demand and choosing for the office a man with whom the public was practically unacquainted the Premier has taken an interesting step. ————— <> —____—_ AUTHORS AND AGENTS. — + I.—FrEES AND ACCOUNTS. ISPUTES between authors and their agents are constantly coming before the secretary of the Society. These disputes are of many different kinds, but attention should be called to one serious difficulty which is of frequent occurrence. After an agent has placed a work, either a dramatic piece with a manager, or a novel with a publisher, all that remains to be done in the future is to see that the accounts are regularly rendered, to check them when they are re- ceived to see that they agree with the former accounts and are in accordance with the agreement which has been fixed up between the author and the party of the other part. For this he draws 10 per cent. on the moneys | received under the contract during the life | of the author and fifty years afterwards. | As, however, he is entitled under the form of agreement on which he usually insists, from which it is impossible for the author or drama- tist to get free, to this 10 per cent. as soon as he has placed the work, he often takes but little trouble with the rest of his duties. In many cases where the publisher delays sending in the accounts, the agent does not push the publisher for an immediate delivery, but makes one or other excuse to the author. If he was too exacting with the publishers, he might prejudice his position so far as placing other  ~ for the author. THE AUTHOR. contracts is concerned. It seems unfair that the author should suffer because of this, as the agent is, after all, the agent of the author and not the agent of the publisher, though from some of the agreements that are made, the opposite deduction might be possible. But when the accounts do come in the agent has still no need to trouble. His 10 per cent. is safe. So, as it would appear, he sends them on to the author without any comment whatever, whether they are right or wrong, whether they are in accordance with the agreement or opposed to it. Sometimes, in fact, the agent sends on copies of his own accounts without allowing the author to vouch them by the sight of the accounts which have been forwarded to him by the publisher or manager. It would have been unnecessary to draw attention to these points if many and serious difficulties had not arisen owing to the fact that an author by his own insight has dis- covered lapses and mistakes in the accounts which ought to have been checked by the agent. If the author has continuously to watch the agent’s accounts to see that they are rendered on the proper dates, to see when they are rendered they are in accordance with the agreement, he might as well not employ an agent at all. It seems, therefore, that there ought to be two distinct transactions and two distinct fees _in order that an agent’s position might be | clear and unsullied ; to confuse the placing of the work with the collection of monies may be a good business for the agent but disastrous The agent should receive: (1) a certain fee for placing the work, and he should be paid this fee by say, a slightly raised percentage on the returns until the fee is reached ; (2) after the fee has been covered, he should receive a continuing percentage so long as the author gives him the authority to collect the money under the contract. For this his percentage should not exceed 5 per cent. ; but the second part, that is the authority for collection of monies, should be able to be terminated immediately by the author if he found the agent was careless with the accounts or indifferent to his interests, playing for the hand of the publisher rather than for the hand of the author. It should not be possible for an agent to benefit by an action which would be likely to prejudice the author for whom he is working. If some such arrangement as the one sug- gested could be come to, then the agent would not be taking 10 per cent. during the whole term 23 of copyright for merely placing the play or making a contract for the production of a book. Such terms are clearly extravagant ; but if he continued, with the author’s authority, to collect the moneys, and in collecting the monies, to check the accounts carefully, he would be, no doubt, saving the author from a great deal of trouble and would be entitled to his percentage so long as the author felt it was worth paying for the protection. At the present the agent, once secure in his 10 per cent., is inclined to neglect his future duties. II.—WuoseE SERVANT. Tue author’s agent is constantly appearing under a new character and in a new part. We have had reason to complain that on some occasions he acts as principal, on some occasions for editors and on some occasions for publishers when he ought to act solely for those from whom he takes his percentage. It is as well to draw attention to the difficulties that may arise from this complex action. First, when the agent acts as principal. When he does so even in the purest good faith he is taking away from the author that very advice and assistance for which he is being paid and causing the author a great deal of extra trouble. But it has been known that the agent has acted as principal without letting the author know either that he is the purchaser, or, if not the purchaser directly, is interested in the purchase. Again, an agent who is interested as principal will natu- rally be more interested in pushing forward those works in which he has sunk his capital than those on which he merely gets a percen- tage. This position is unfair to the other authors who employ him. There are still worse possibilities, but as they seldom occur it is perhaps unnecessary to mention them. Secondly, when the agent acts for editors. Editors sometimes come to agents and ask them if they can supply a story by a certain author. If the author is not on the agent’s books it not infrequently happens that the agent does not say so, but tries to draw the author into his net by holding before him tempting offers. This occurs more frequently when the agent himself goes round to editors and asks them whether they want a story from Mr. or Mr. If the answer is in the affirmative the author is pestered with letters and worried 24 till he finally yields, often to find that the con- tract cannot be obtained. Thirdly, when the agent acts for publishers. There are certain agents who act for publishers in selling those rights beyond the book rights which the latter have taken from the author. No wonder it pays the agent in settling a contract to allow the author to give away his minor rights to the publisher if the publisher immediately hands them back to the agent to place. In addition to making it easier for the agent to settle with the publisher it enables him to obtain a double fee. Again, there are agents who appear to give certain publishers the first refusal of the good work that comes to their hands and in other ways to hamper the freedom of the author. The following example appears to represent the very latest development. An author offers a book to a publisher. The publisher inquires when making a proposal for the acceptance whether the author is employing a certain agent whom he names. Resenting somewhat the inquiry, the author replies that if an agent were necessary the choice would be with himself. The publisher then informs the author that in that case he will be unable to handle the book. It is an interesting question whether the publisher receives any consideration for his sturdy championship. But one point is certain —that such a position increases the author’s servitude to the agent. There are no doubt good agents and bad agents, but no agent is good for all his authors if he is employed by many and does not limit his scope. Such an agent is bound to bring his authors into competition and to assist one at the expense of another. This has been clearly pointed out by another hand in these columns, but while in many cases an agent’s livelihood depends upon his not being an ideal agent, authors should be strongly warned against many of the practices indulged in which tend to make an agent a bad agent. BOOK PUBLISHING IN THE U.S.A. ——_—— + E have received a letter from a well- known American author dealing with ; some points put forward in an article in the June number on “ Book Publishing in the United States,” and we have much pleasure in putting forward his views. We regret that it was impossible to insert it in the July THE AUTHOR. issue, and in consequence have had to hold it over to the autumn. He rather smiles at Mr. Brett falling back on the old excuse ‘‘ that all the fault is due to the rapacity of those derned authors ... .!” and continues :— “Mr. Brett points out that too many books are being published and too few being sold; that the methods of distribution employed by publishers are crude and anti- quated, and that no improvement in conditions is possible without improvement in those methods. And _ then, appalled by his candour in confessing his incapacity for the job he holds, and in deadly fear lest he be drawn into adding something incriminating or degrading on the subject of over-production, he lights hastily across the street, and slams the unhappy author over the head for wanting to make money enough to pay for his typewriter’s ribbons—both kinds ! ”’ And he goes on to explain that the real fault is with the publishers and not the authors, and we think that these remarks may well apply to the same conditions at present standing in the English market. He says :— “The public never kicks about paying $1.50 or thereabout for a novel it thinks it really wants to read, but it is getting awtully sick of being fed with novels (and works of general literature—at a higher price, usually) which it has been misled into purchasing by the imprint of a respectable publishing concern, a flashy make-up, or the appetite for something to read coupled with sheer human inability to discriminate between one book and another of the thou- sands that are annually shoved under its poor nose. And this is so because the publisher, in his wild anxiety to miss no bets, publishes three or four times as many books as he ought to, simply on the off-chance that one or two of them may pick up and prove winners; and then he advertises them all (if he does advertise at all) in terms of the most glowing praise, overprints in order that he may fill the bookseller’s show-windows with “ displays,” and make a respectable showing in quantity alongside the output of other publishers on the bookseller’s shelves ; thereby confusing the public until it can’t tell one book from another, and stops buying through weariness of the lottery. ‘* Several years ago Mr. Brett’s concern boasted that it was publishing 365 books in the calendar year. Two years ago (circa) another old-time firm announced (but not publicly) that they had finished with being conservative and were hereafter going to publish a great many books per annum, regardless of merit, with small first editions and no advertising to speak of, simply in order not to miss any winners that might chance their way in disguise. Not that this was any new thing; Appleton’s had been doing the same thing for years, to their own profit, but unhappily for authors, and to the confusion of the public. At the same time Doubleday, Page & Co. were fomenting a project, through the medium of the future ambassador to England, to induce publishers to band together and agree to publish fewer books, under the slogan ‘ Fewer books and better!’ They even gave a luncheon to boost the project— and the next season came forward with a list of fiction longer than any they had ever fathered previously ! “The point of this business (of publishing a great many books of small editions and with scanty advertising) is as follows: The publisher doesn’t do it altogether because he is afraid of losing a winner, but because it really pays him. It works out this way: the average publisher puts out  THE AUTHOR. upwards of twenty or thirty books every- spring and autumn—I mean novels. He spends as little as he can— naturally—on their make-up, advertises the titles, along with a dozen others, only meagrely, and prints a first edition of each that seldom exceeds 1,500 copies. Of this edition he is almost sure of disposing among the several thousand booksellers of the United States. He has a mighty poor book salesman if he can’t induce each book- seller to take a chance on at least one copy. All of which nets the publisher a modest profit on each book, and a comfortable one on the season’s output, with the minimum of risk. And there is always the chance that one book out of his score or so per season will on its own merits forge ahead, make a hit with the public, and by word of mouth advertising—one reader passing it on to another—create a demand which will warrant the publisher in spending a little more money giving it individual advertising, to push it into the best-selling list. If this doesn’t happen, he hopes it will next season; and meantime he hasn’t lost anything—the authors are the only losers in this game.” Thestatement contained in this last paragraph is very interesting as it demonstrates so clearly that what is happening in America has been going on for a long time in the English market, owing to the curse of the publishers demanding in their contracts a series of books, and authors being foolish enough to bind themselves to the publishers for a series. The publisher puts the book on the market. He does not take much trouble in the matter except to push it through sufficiently to cover his expenses and to bring him in a profit ; he then lets the book drop because he knows he is quite safe as the author is bound to him for several more books. If, as suggested by our correspondent, the book looks like going, then he takes it up as a winner and gives it individual advertising and turns round and says to the author: ‘ Look what I have done for you!” The fault is a very serious one ; whether the publishers will make any effort to remedy it, or whether the authors will take any united action by refusing to bind themselves in this absurd manner remains to be seen. Our correspondent follows :— “The truth of the matter is that two-thirds of us haven't any right to be writing at all—we do it so poorly— and would long since have turned, in warranted discourage- ment, our abilities to some more profitable field of endea- vour, if it were not for the rapacity of the publisher who leads us on to believe we have some excuse for sticking to the game simply that he may make his insignificant profit per book and so swell his handsome profit per annum.” He seems to sum up the position so far by saying :— “The solution is not cheaper books. Brett had only to investigate the conditions here and in France and Germany to find that out ; assuming that he was ingenuous in making the suggestion on the basis of conditions in those countries as he understood them. The real solution is that of Doubleday, Page & Co., ‘ Fewer books and better, and a revolution in the method of attacking the public.’ ” then continues as 25 He then gives an example of a certain pub- lisher in Chicago who devotes himself exclu- sively to selling the books of one man and with unexampled success, both for the author and for the company. American publishers, he says, know of this thing, but they seem unable to profit by the lesson it teaches, that even a second-rate book at $1.50 can be unloaded by the hundreds of thousands by concentration and the employment of available, if new to the publishing trade, avenues of distribution. And he finally sums up by repeating what he has already stated, that the cheap book is not what is wanted in America any more than it is wanted in England or in France, and that after a time it is impossible to unload the numbers of cheap books which it is necessary should be unloaded in order to make a profit for the publisher, for the author and for the bookseller. And he points out by example, that those American publishers who have already endeavoured to make a success of the cheap book have produced nothing but failure. Perhaps it is as well to add that he ends up his letter in the following words: «These tumultuous thoughts are now beginning to sub- side and it is nearly time for me to break off and chew three Pepsin and Bismuth tablets and drink a bucket of hot water and sit down at the luncheon table and hat> a piece of dry toast, but if any of the stuff is useful, I allow you to make free use of it.” We have quoted his letter at some length as the writer is not merely a person who writes and then, leaving the work, places it in the hands of an agent, but he writes as one in authority with full knowledge of the trade n the United States and the capacities of th» publishers to endeavour, though unsuccess- fully, to meet the real demands of the public. ——_—_1+—> +___ ARTISTS AND THEIR CRITICS. —_— FTER the correspondence which took place last summer in the Morning Post and other newspapers, or, indeed, with- out reference to it, it is not necessary to prove laboriously that artists at the present time, or a large proportion of them, are discontented with the conditions of art criticism, or rather with the criticism which is produced under those conditions, and that, on the other hand, a certain number of art critics are profoundly contemptuous with regard to the productions of the artists who thus express their discon- tent. The term artists is here used to include all who earn, or try to earn, a living by painting, 26 sculpture, engraving and other similar arts, without any attempt to define an “ artist,” or to draw invidious distinctions between those whose art is of the highest order, and those not so gifted—mere academicians, perhaps, who are just what they are, with no hope or perhaps ambition for better things. It is not proposed to discuss here the basic essence of art, or whatever it may be, which should inspire the artist before he is worthy of the name. It is enough to say that if reviewers are sometimes not altogether beloved by the reviewed, the art critic, or art journalist, as some one has recently labelled him, has even fewer admirers in proportion to his enemies among those to whom (according to some of them) he should be guide, philosopher and _ friend. Why is this ? - Is it possible to point out a reason— an easier task than to suggest a remedy ? It is a feature of art criticism, or art jour- nalism, distinguishing it from book criticism, that it is in very few hands. Dramatic criticism, to some extent, resembles it in this, but is produced under different conditions, to which reference may be made hereafter. Book criticism on most newspapers is entrusted to a variety of reviewers. The author in a particular instance may believe that his work has been foredoomed by the selection of a critic known to be hostile to the opinions likely to be found in it, or may ascribe a lack of appreciation of his virile style to the prejudices of the editor’s, or proprietor’s, lady relatives and friends. This, however, should be in exceptional instances. On the whole, books are distributed with a desire to discriminate among persons believed to be suited by taste and capacity to the task of reviewing them. The same person would not be likely to review for a leading daily or weekly paper a work on military history, a novel written to prove marriage superfluous, and a volume of rhymes for the nursery. On most newspapers, how- ever, in which art criticism is published, there is but one art critic. On some there is not quite so much—there is only part of one. The same gentleman, or, possibly, lady, ‘‘ does the art notices ”’ for two or possibly more papers, and it may be insisted upon, though it should hardly be necessary to labour the point. that the fact of several criticisms of the same work being written by one critic, whether in art or literature, tends to create the idea that there is a consensus of well-informed opinion with regard to that work. That is to say, if the critic writes to the same intent in two or more papers he gives an impression of un- animity that does not exist. . If he writes quite THE AUTHOR. differently in two or more articles, he must almost necessarily be insincere in some of his observations. Apart, however, from this multiplication of one man’s opinion, the fact of there being but one art critic on a newspaper, and conse- quently a very limited number of critics writing on art topics, must have its effect. It is not intended to discuss here whether such a system is necessary, or desirable, or con- venient, or conducive to consistent criticism. It may be all of these, but at the same time it may be responsible for much of the discontent with art criticism certainly felt by many who, whether it would be right to apply to them the term “artist” in a laudatory sense or not, are trying to make a living by art, and in the popular meaning of the word are artists. The art critic may be an acknowledged authority on old masters, and he may be very much more interested in them than in any modern work. He may be warmly in sympathy with the methods of our senior Royal Academicians, or may have grasped and clasped to his bosom the inner inwardness of Post-Impres- sionism. The exhibitions of the Royal Water Colour Society may be his ideal of what such exhibitions should be, or he may find nothing really to please him outside the new English Art Club. Anyhow, he has got to have a pretty catholic taste if he can assimilate them all with enjoyment, and the cards for press views that are showered upon him from the editorial office will take him to more than these. Bond Street and Regent Street, Pall Mall, Piccadilly and the by-streets of St. James’s are full of one-man shows, and the exhibitions of minor clubs and societies. It is not sug- gested that all are worthy of praise, or, indeed, of notice at all. It is, however, submitted that the works shown differ quite as widely among themselves—in their aims, and in their claims to public attention—as do the works put upon the market by publishers, and that to hand over all varieties for comment to one critic is not very different from sending all varieties of books to one reviewer. The practice, no doubt, is due in part to convenience, and in part to different concep- tions of the functions of an art critic and those of a literary critic—or should they be called an art journalist and a book journalist? As a rule, it is apparently thought that the book journalist should be able and willing to accord praise or blame to a book judged by the stan- dard of books of its class; but that the art journalist should judge all art productions by canons of art formulated by him and others no 16 rid uq od te ue dé ud on ue 3 1 d slg sd ad. sd 0% og dd oe ak dd 03 ry Or si Te ad 96 1h as | BL ie te Te fe lye te tw yi | ad he 1G a A ob through the assiduous study and appreciation of masterpieces. He may judge everything that is submitted to him for criticism in the public press according to standards which he honestly believes are of universal application, and may accord nothing but contempt, outspoken or silent, to everything. which falls Short of them. He is quite entitled to do so, but at the same time men and women who make no extravagant pretence of -conforming to such lofty standards, but who are merely trying to earn a living, perhaps. successfully by selling pictures to persons who are quite pleased to buy them, may think it a little hard that: their admirers should be informed that they are incompetent and futile charla- tans. An artist of this class may say with some show of reason that he does not pretend to be a Rembrandt or a Turner, not to mention the names of members of the newest art societies of to-day, and that all he asks for is to be judged according to the standard of those with whom he obviously enters into competition. Of course, he may be quite wrong in this, but the point is worth putting forward on his behalf. Dramatic criticism has been referred to, and, no doubt, there is on most papers one dramatic critic, Just as there is one art critic. Something, however, Seems to temper the wind in the matter of dramatic ciiticism ; perhaps the comparative importance of dramatic advertising, or the fact that first nights clash and that thus very often a variety of criticism and an allocation of plays to the persons most likely to be in Sympathy with them are brought about. At any rate, one of the causes of the ill-feeling which exists between a large body of artists and a large proportion of the gentlemen writing (often very ably) modern art criticism has been suggested. One of its results has been that recently an important society of artists sent out no invitations to art critics for one of its exhibitions, and another did not assign the usual special day for the press view. Recent outbursts of acrimonious correspon- dence in newspapers have already been referred to. Of course, a good deal may be ‘“e said in favour of art criticism being conducted on from the point of view of the loftiest ideals in “™% art, but would it not be equally right to say no right to complain of critics who more or less the same with regard to literature? It may be said that a great many persons are trying to make a living by art who had much better be otherwise employed, and that these have plainly tell them so. But might not the same be said of many who live, or. try to live, by THE AUTHOR. 27 literature, if similar principles of criticism were applied to their works under a similar system ? Se ase AUTHORS AND FREE LIBRARIES. a N UCH advance has been made of late in the matter of protecting authors’ copyright. But that is not the same thing as protecting the rights of authors. At least one other form of much-needed protection seems to have been overlooked: protection from free libraries. Perhaps a case in point will make this clearer. A work of fiction was published in April of the current year. It was in the free library of a certain manufacturing. town within a month of publication. Enquiries elicited the fact that the library copy was in eager demand, though the book was not selling in that par- ticular town. It is easy to see that a librarian promotes his own popularity by promptly securing the newest fiction for free circulation, but is such action fair to the writer? I sub- mit that it is neither fair to author nor pub- lisher. The money which pays for the books in free libraries, is public money, raised by local taxation. This differentiates the case of the free lending library from that of private lending. Now as things are, there is nothing to prevent an enterprising free librarian, by the clever use of a few copies of a book, and a shortened time limit, from absolutely barring the sale of that particular book in his particular area. This is not as it ought to be. A rule in force in the library of the British Museum bars access to fiction within a certain space of time after publication. A similar rule should be legally in force in every free library ; and the time limit should be so fixed, that a book should be kept out of free circula- tion for two years after publication. A book is printed to sell. Supposing the author is so full of the lofty aim of setting right a perverted universe, as to be quite indifferent to remunera- tion for his labours! Is it reasonable to expect a publisher to take that point of view? I think not. Unlike the plutocratic author, the publisher has to eke out a precarious livelihood by selling books. When he can no longer sell books, he has finished with publishing. I believe I could demonstrate—given time that a book which cannot be published, had better not be written. This is a question of the public sense of 28 justice—concerted action on the part of authors and publishers, and a small measure passed through Parliament. Planting trees on your own sand heap is a noble and soul- lifting amusement. But the law does not support you when you plant trees to shut out the light from your neighbour’s window. It is a fine thing to supply the free citizen with taxed literature; but to do that, the dis- bursers of public money have first to take scisin of the regular meals which might other- wise fall to the lot of a number of authors. This legal gap in that fine old mandate “ Thou shalt not steal ” ought to be filled up. C. KE. S. ——————_-—~>— > —____ A ROMANCE OF WORDS.* ——»—+ —. HETHER highly gratifying instances of the rapid sale of works of real merit are common is a question that it might be dangerous to put before a body of authors. The reply would be only too likely to be some equivalent of the parliamentary circumlocution “The answer is in the nega- tive.” Indeed, it is difficult in the present days not to be troubled with many misgivings respecting the relations of popularity and real value in the case of a book. All the more cheering, therefore, is the prompt welcome which has been given to Mr. Weekley’s “Romance of Words.” Published first in March, it reappeared in a second edition in May, a most welcome indication of a sound taste for work of substantial value, and of a distinctly cultivated kind. The author has been at great pains to make his treatment of his subject appeal to those to whom it may be new, and has been in this respect completely successful, but he has, at the same time, had the courage to treat his subject as it ought to be treated, and we may say frankly that new hope for the English reader has been inspired into us by the revelation that a book about words (of strictly philological value) can so readily find itself a market. The experienced philologist will not expect to mect here any- thing that is new to him. What are to him familiar words, familiar ‘‘ laws,” and familiar phenomena occur on every page; but he will be none the less delighted to think that an author has had the courage, and the ability, so to handle the history of words as to make“it * «The Romance of Words,” London. Murray. THE AUTHOR. popular. To all who are not philologists the book will prove full of novelties, and must be recommended as one of the very best of its kind. The various phenomena of word- wanderings, word-manufacture, and so forth, are explained in ‘several chapters, amongst which by no means the least interesting will be found to be the chapters on “ Semanties,”’ though the name may seem a strange one, and that on Family names. The introduction of a chapter on semantics is particularly laudable, as the subject is of primary importance, and in all teaching of languages generally over- looked. In conclusion, amongst the many merits of the book, must be mentioned this one, that it lends itself readily to perusal in odd moments, whilst no one can scan a page of it without becoming better acquainted with his own language. ————p---~«e BOOK-PRICES CURRENT,* —— Ne T., II. and III. of Book-Prices 7 | Current for 1913 are lying before us. It is unnecessary to say that the pub- lication maintains its high level of accuracy and interest ; but most necessary to add that no notice of the publication can convey an adequate idea of the amount of valuable information and the mass of interesting matter to be discovered in these volumes. Our practice has been always to select for notice some of the more striking “lots,” or such as seem most likely to be of more immediate interest to authors; but this amounts to merely skimming over the surface of the subject, and looking out for what may be of general interest, whilst the publication is one that appeals essentially to individual tastes. The book lover is very seldom bent upon hearing of what is popular alone; he has his own tastes and his own interests, often of a very special and uncommon kind, and it is these that he will find gratified if he will for himself peruse the pages of Book-Prices Current, where the enormous diversity of the entries provides matter of the greatest interest for every serious bookman whatsoever his speciality may be. Numbers IL., II. and III. for 1913 contain records of the book sales for October 8, 1912, * A bi-monthly record of the prices at which books have been sold at auction. Vol. XXVII. » London: Elliot Stock. 1913. of THE AUTHOR. 29 to March 13, 1913. At the sale of a selection from the libraries of Mr. S. R. Crockett and Mr. G. E. Cower (Sotheby), first editions of Borrow’s works fetched prices running as high as £125 (‘The Zincali”’). In the same sale was offered Lewis’ ‘“‘ Tales of Wonder,” 1801, containing the first poems published by Sir Walter Scott (12s.). Lady Napier’s library, sold on November 11, 12, 18 (Sotheby), con- tained, among a number of interesting lots, twenty-eight different works (art books and others) by Stirling Maxwell, among which were many privately printed or presentation copies. In a miscellaneous sale (Sotheby, November 20, 21) “ Poliphili Hypnerotomachia,” 1499, sold for £111. A few days later the same salesman sold the “* Kelmscott Chawcer,’’ 1896, for £61. The library of Mr. H. J. Adams, of Enfield (Sotheby, December 2, 3, 4), exhibited a highly interesting collection of works on_ natural history. On December 16 Christie sold a first edition of Charlotte Bronté’s ‘‘ Jane Eyre ”’ for £27. Another particularly interesting collec- tion of books was that of Mr. H. Clutton (Puttick, December 17). It comprised a number of first and rare editions of Dickens, and the first English translation of ‘ Don Quixote,” by Thomas Shelton; the latter fetched £300. In a “Miscellaneous Collec- tion” sold by Sotheby on December 20, were included the rare second edition of ‘‘ Othello,” 1630 (£85), and Lord Byron’s “ Fugitive Pieces,” 1806. Of this work only three other copies (one of them imperfect) are known, and the present copy must have been one of the earliest printed, for it contains words that have been altered in the others; it sold for £445. This high price was exceeded by that paid for the first edition of Walton’s ‘‘ Compleat Angler,” 1635 (£500). Original drawings by various artists for ‘‘ Nicholas Nickleby,” “Old Curiosity Shop,” “‘ Our Mutual Friend,” were sold by Puttick (January 23, 24, 1913) for prices ranging from £4 15s. to £21. On February 13 the same firm sold other original drawings for the ‘“ Household Edition” of “Old Curiosity Shop,” ‘‘ Our Mutual Friend,” and “ Little Dorrit,’ at prices ranging from £1 7s. 6d. to £9 10s. On February 11 and the following days the very remarkable library of Mr. M. G. Dunn was sold (Sotheby), consisting of 684 lots of early manuscripts, incunabula, and old bindings. Here we can only regret that space does not permit of our quoting many of the entries at full length. On February 24 Messrs. Sotheby sold a large collection of books illustrating British and foreign military cos- tumes formed by Mr. S. M. Milne. The collec- tion sold for £2,759 14s. 6d. Another collection abounding in interesting books was a miscel- laneous collection sold by Messrs. Sotheby, March 5, 6, 7. Among them is the very noticeable entry, ‘‘ Erasmus Alphabetum Hebraicum et Grecum. Gaza (Theodore) de lingue Greece institutione liber secundus Erasmo Roterodami interprete,”’ 1518; a work that is apparently hitherto unknown. From the prices paid at various sales it is evident that among the works of recent authors first editions of books by Kate Greenaway, Andrew Lang, R. L. Stevenson, and Oscar Wilde, are much sought for and command high prices. The owners of such works should treasure them, as they are certainly valuable. Here, however, it may be added that Book- Prices Current is the only work from which any man can learn which of his books are valuable and which are not, and what is the actual value of those which are precious. Prices vary capriciously, and reliance can be placed only on this record, which is carefully brought up to date. ———__+-—.—_ ——_ THE STAGE CENSOR.* a " ESSRS. FOWELL AND PALMER have 7 produced a book which is at once entertaining and instructive. With the entertaining side of it we are not concerned here. Of the instructive side we shall attempt to give an idea by sketching, after the picture drawn by our authors, the origin of the Stage Censor. (Although the book is called simply “Censorship in England,” it deals only with the stage censorship.) We shall not follow the story down to the present day, but stop short when the historical merges into the modern and controversial. The Censor of Plays is a descendant of the old Lords of Misrule, who figured prominently in the Christmas festivities of medizeval times, both at Court and in the houses of the nobility. The earliest reference which can be traced to such a personage under the title of ‘** Master of the Revels ” isin a document of Edward III., dated 1347. Such a title did not at first imply permanence of office. In an account written in Elizabeth’s reign we read as follows: ‘* The Office of the Revels, as it shoulde seeme by reporte, hath in tymes past bene in that order that the prince beinge disposed to pastyme woulde at one tyme appoynte one persone, at * “Censorship in England,” by Frank Fowell and Frank Palmer. London: Frank Palmer. 30 sometyme an other, suche as for creditte, pleasaunte witte, and habilitye in learnynge he thought meete to be the master of the Revelles for that tyme, to sett fourthe suche devises as might be most agreable to the princes expectacion.”’ Since, however, people as eminent as the Earl of Essex acted as superintendent of the revels, we may, as Messrs. Fowell and Palmer say, be sure that it was not long before a minor, and possibly permanent, official was appointed by the superintendent, ‘‘ bothe to his own ease and the prince’s good service’; and, as the work of the office increased, several subordinate posts were created. The love of the Court for masquing provided the Master and his assistants with a good deal of drudgery, for ““masks, dresses, stuffs, and ornaments had to be obtained, architects, builders, carpenters, tailors, and embroiderers to be engaged, and the actual performances chosen and_ piloted to an acceptable conclusion.”” So far we can scarcely discern the germ of the censor. With the appointment in 1544 of Sir Thomas Cawarden as Master, the office became more important. Cawarden was appointed for life, his patent styling him Magister Iocorum Revelorum et Mascorum-omnium et singularium nostrorum vulgariter nuncupatorum Revells and Masks. His jurisdiction did not extend beyond the Court, though he tried to stretch his powers, and the terms of the patent (which were adopted as a model) were interpreted by one of his successors, Sir Henry Herbert, Master from 1623 to 1642 and from 1660 to 1663, as giving him a licensing authority over shows and performances generally. Both under Mary and under Elizabeth proclamations had been issued against the too great freedom of the stage, but the Revels office had not been specially associated with such action. The Masters exercised their selective and censorial rights with regard to entertainments pre- sented to the Sovereign. In 1574, however, a definite extension of authority was made necessary, when Elizabeth granted a patent to the Earl of Leicester’s players to act in all towns of the realm without molestation from the local magistrates. As a check on possible abuse of this privilege, the players were to have their plays “ seen and allowed ”’ by the Master of the Revels. Tilney, who became Master in 1579, seems to have given similar licences to other companies, but thereby brought himself into conflict with the Lord Mayor of London, who claimed, and indeed exercised, a censorial power within the City limits. So arose “a struggle between the Court and the representa- THE AUTHOR. : tives of the people for the control of the popular stage.” In this struggle the Court prevailed. A commission was appointed in 1589, the Arch- bishop of Canterbury and the Lord Mayor -being asked to nominate a representative each to act with Tilney. Before these three all companies of players were compelled to come and submit their books. The result was to make Tilney Licenser of Plays, his two co- adjutors soon ceasing to take an active share in the work. His successor, Sir George Buck, continued the process of magnifying the office, beginning tentatively to issue licences for the printing of plays in 1606. But it was Sir Henry Herbert who saw the real possibilities of the job. Acquiring the Mastership by purchase in 1623, he determined to interpret the vague wording of the Cawarden patent to the utmost personal advantage. He began to claim the right to license every form of public show or performance, including ‘‘ two droma- daries,” ‘‘a show of pictures in wax,” “a musical organ with divers motions in it,” ete., etc. He raised the fee for reading a play, once only 7s. per play, to £1 and sometimes £2. That this was a reading, not a licensing, fee is shown by an entry made by Herbert himself in his diary : ‘‘ Received from Kirke for a new play which I burnte for the ribaldry and offence that was in it, £2.” He revived Buck’s plan for printing licences ; and in every way grasped at what money could be made out of authors and actors, so that previously to the Civil War his income as Master was £4,000 a year. He bought the office, we may add, for £150 a year. After the Restoration, Herbert only nominally resumed his old position. The practical control of the stage passed by Royal warrant to Sir William Davenant and Tom Killigrew. Herbert fought against this usurpa- tion, as it seemed to him, for a time, but finally compounded with Killigrew and in 1663 abandoned his office to deputies of no import- ance. When he died, ten years later, Killigrew became Master of the Revels—‘ though it is doubtful if his authority was in any way increased by the appointment ’’—and_ con- tinued in the post till his own death in 1683, exercising his duties with extraordinary laxity. His son Charles succeeded him, and under William and Mary was obliged to be a very different kind of Censor. It was the era of Jeremy Collier’s “Short View of the Profane- ness and Immorality of the English Stage”; and the rake Tom Killigrew’s son “ assisted the reforming movement with embarrassing energy,’ indeed with oppressive austerity.  THE AUTHOR. 31 On his death in 1725 he was succeeded by Charles Henry Lee, who “during nineteen years exercised such authority as was not opposed, and received such fees as were willingly paid.” The tendency was for the authority 1 in connection with the general con- trol of the theatre to revert to the Lord Chamberlain (who was all along the real power behind the Censor), and the Revels Office was discredited. The last Master seems to have been Lee’s successor, Solomon Dayrolle; but in 1737 the ancient jurisdiction of the office was transferred to a legally appointed Stage Licenser—who, by the Theatres Act of 2 George II., was ““the Lord Chamberlain of the King’s household for the time being.” The Duke of Grafton was Lord nee at the time, and he, in February, 1738, appointed W illiam Chetwynd as eae of the Stage, with a salary of £400 a year, and with a ‘deputy to assist him at £200 a year. And so, through Larpent, Colman, Charles Kemble, J. M. Kemble, Donne, Piggott, and G. A. Redford, we arrive to-day at the censorship of Charles Brookfield. +8 ++ CORRESPONDENCE. — + AUTHORS AND AGENTS. I. Dear Mr. WEtts,—I write to say that after thirty years of authorship, I find myself in agreement with you, rather than with Mr. Bennett, on the subject of the likely agent. I have never employed but one, once, and I think I could show that I have not lost by doing my business myself. The essential informity of the position of the agent as the representative of the author, is admirably shown in the paragraph of your Jetter in The Author, beginning, ‘“ Also let me assure the beginner.” It is the beginner who does not (perhaps may not) see that it is the necessity “ for keeping in’’ with the publishers, which makes the agent indifferent as to whose 19 per cent. he takes, except when the capital sum is going to be a large one, and then it is the beginner who suffers. If an author could have an agent entirely to himself, the situation would be quite different. My experience (on the whole) has been, that the agent is apt to become the servant of the other man, though he is paid by you—and that he is not generally of much use to you until you can do without him. At the same time I was well served by my one agent in my single transaction, and have on two occasions been truly well served by a dramatic agent. With kind regards, Hau Carne. P.S.—I can, however, very easily talk of circumstances in which an intermediary may do better for a man than he can do for himself. But the handing of yourself over, body and bones, in all the literary affairs of life, seems to me, with all respects for Mr. B.’s opinion, a childish absurdity. [We have much pleasure, with Mr. Hall Caine’s consent, in printing the above letter, in continuance of the correspondence that appeared in the July issue.—Ep1rTor. | at IL, Sir,—Since the stars of the first magnitude in the literary firmament have had their say, the views of one that is scarcely visible may be of interest. Before I was so fortunate as to get into the hands of one of the leading, if not the leading, agents, I did my own business, and was hundreds of pounds out of pocket thereby ; indeed, I have paid somewhat heavily to buy back rights I should never have signed away. Since that time, my income has trebled, and all business worries have been lifted from my shoulders. And this is the experience of most authors I have spoken with who are in the hands of good agents. Quite as a matter of curiosity, it would be interesting to know which of Mr. Wells’ books was mishandled by an agent and valuable rights parted with. Yours, etc., Horace W. C. NEwrtme. UNREVIEWED Books. Dear S1r,—Mr. Herbert Jenkins takes up the cudgels so valiantly for ‘ distressed literary editors”? that one would almost imagine him more at home in the editorial office of a popular daily than on the turf—as his closing paragraph implies! I do not think that literary editors have so hy been very mercilessly attacked in The Author, but perhaps Mr. Jenkins feels himself vulnerable in this matter and has haunting visions of piles of neglected and unreviewed books—for I prefer to look upon him as a littérateur (in spite 32 of his letter) and not as a “‘ bookie”! But, to be serious, I don’t think his letter throws much light on the vexed question, and I consider a great deal of what he says is beside the mark altogether. I like to think that literary editors are guided by principles of sanity, commonsense, and justice, and Mr. Jenkins’ remarks anent such incline one to infer that those he alludes to are hardly qualified for their responsible posts. But there are literary editors and literary editors, and the class that would be demoralised, and sit agape when confronted with problematical ‘‘ Golden Agates ’? by obscure authors, are outside the ale. Editors have their rules, customs, and prece- dents, but the question is whether some of these cannot be improved upon. But so many aspects of the subject of reviews of books have been already dealt with in The Author that I suppose it leaves nothing fresh to Mr. Jenkins to suggest, or he would point out a satisfactory solution. I do not see why literary editors should be singled out from among all members of the human race for special care and con- sideration; if they do their work conscientiously and methodically, why in the name of all that’s wonderful cannot they deal seriatim, day by day, in a businesslike spirit, with their share of the 18,000 books—a matter that comes within their province? If the staff, or the auciliary staff, is not adequate, the sooner things are readjusted the better. Surely, if 13,000 books are published, a publisher has to deal annually with a very large percentage of a much bigger number of MSS. ? and publishers either publish, or return unavailable manu- scripts at their own expense. The “ sorting out of ten thousand lots of stamps ”’ is too trivial a point to dwell on, though it suggests straining at a gnat and swallowing a camel !—for, somebody’s conscience is elastic over the volumes which have been perverted to some mythical, though no doubt praiseworthy, purpose ! It is refreshing to be told that books sent in are acknowledged under the heading of “Books Received,” but Mr. Jenkins should not take ‘‘ Reviews” too seriously, and imagine that in all cases they are inspired ; neither should he confound a few inches of space in a periodical with the winning post at Epsom! for there are other tests, and if a book is temporarily disqualified by non- recognition in a certain number, or section of august journals, it may yet win in the race of Time. : Yours faithfully, F. R. M. Furspon. THE AUTHOR. Epirors AND THEIR CONTRIBUTORS. Str,—Is there no unwritten law, no code of manners for editors with regard to their treatment of manuscripts? Have they no rules for, no authority over the menials to whom they entrust the task of returning the work they cannot or will not use? These emphatic queries have been engendered in me by receiving in a torn, soiled, or disfigured condition many a manuscript I had sent out in an immaculate state. Sometimes when the manuscript is too thick, it escapes the maltreatment of being folded in new places, but almost invariably when a thin new manuscript of one or two pages, all crisp and clean, is submitted, it is returned (when not accepted) in a crumpled condition and folded, with malice prepense, into a new shape. This occurs even when envelopes of the proper size are enclosed. What diabolical wantonness actuates the office factotum needlessly to fold an innocent manuscript into new and tell- tale creases—thus ruining or debasing the copy for use elsewhere—is beyond me. Perhaps an author’s black list might do something towards enforcing the rules of the game ? Editors have a certain right to refuse to consider or read manuscripts, but in the light of modern journalism and fair play they have no right to damage, destroy, or confiscate the property of others. Another rank abuse which cries aloud for regulation is the interminable length of time a manuscript is sometimes retained before publication. One of my own was held over for more than six years. Then there are the pericdicals which keep the author waiting for weeks and months after publication ere they deign to send him payment. Lance-HEab. EEG REVIEWS IN FRANCE. Srr,—If any authors who read this care to receive notices of their books in La Nouvelle Revue, will they ask their publishers to send a review copy to the Editor, Monsieur Paul Louis Hervier, 23, Rue de Beaumont, Bourges. (Cher), France? He takes a great interest in English literature, and gives interesting and painstaking reviews. He cannot give space to novels, but welcomes all other kind of books. La Nouvelle Revue is one of the best known reviews in France. Yours truly, Paris, MauprE ANNESLEY. September 16. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author, Vol. 24 Issue 01 (October 1913) Subject The topic of the resource <em>The Author</em>, Vol. 24 Issue 01 (October 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-10-01-The-Author-24-1 publications The Author